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                  音樂會預告丨王天時教學實踐音樂會
                  來源:音樂學院 作者: 音樂學院 時間:2019-11-26

                  王天時教學實踐音樂會

                  Wang Tianshi teaching practice concert


                  2019.11.28,19:00

                  西林音樂廳 | Xilin Concert Hall

                  曲目|Program


                  阿希爾-克勞德·德彪西(1862-1918)

                  《第一號單簧管狂想曲》(1910)


                  王天時,單簧管

                  李文琦,鋼琴伴奏


                  Asher Claude Debussy (1862-1918)

                  《Première rhapsodie》(1910)


                  Wang Tianshi, clarinet

                  Li Wenqi, piano accompaniment


                                                   ——

                  路易吉·巴斯(1833-1871)

                  《弄臣幻想曲》


                  謝玉鑫,單簧管

                  程凌靜,鋼琴伴奏


                  Luigi Bassi (1833-1871)

                  《RIGOLETTO.》


                  Xie Yuxin, clarinet

                  Cheng Lingjing, piano accompaniment

                  ——

                  米歇爾·曼加尼

                  《演奏者幻想曲》


                  吳佳瑩,單簧管

                  胡與同,鋼琴伴奏

                  Michel Mangani

                  《EXECUTIVE》


                  Wu Jiaying, clarinet

                  Hu Yu Tong, piano accompaniment

                                                 ——

                  羅伯特.舒曼(1810-1856)

                  《三首浪漫曲》


                  黃松佳,長笛

                  李文琦,鋼琴伴奏

                  Robert Schumann (1810-1856)

                  《Three romance》


                  Huang Song Jia, flute

                  Li Wenqi, piano accompaniment


                  —— 中場休息 | Intermission ——


                  伊戈爾·菲德洛維奇·斯特拉文斯基(1882-1971)

                  《三首無伴奏小品》——為單簧管而作(1919)


                  王天時,單簧管


                  Igor Fedorovitch Stravinsky(1882-1971)

                  《Three pieces》for clarinet(1919)


                  Wang Tianshi, clarinet

                  Li Wenqi, piano accompaniment

                  ——

                  達律斯·米約(1892-1974)

                  《三重奏》——為單簧管、小提琴與鋼琴而作(1957)


                  Ⅰ.序曲:活潑而快樂

                  Ⅱ.舞蹈段落:活潑的

                  Ⅲ.活潑的

                  Ⅳ. 中板、活潑的

                  謝玉鑫,單簧管

                  周  晴,小提琴

                  程凌靜,鋼琴伴奏

                  Darius Milhaud (1892-1974)

                  《SUITE》 for Clarinet, Violin and Piano (1957)


                  I. Overture:Vif et gai

                  II. Divertissement:Anime

                  III. Jeu:Vif

                  Ⅳ. Introduction et Final:Modere

                  Xie Yuxin, clarinet

                  Zhou Qing, Violin

                  Cheng Lingjing, piano accompaniment

                                                                     ——

                  德米特里·肖斯塔科維奇(1906-1975)

                  《四首華爾茲圓舞曲》——為單簧管、長笛與鋼琴而作


                  Ⅲ.圓舞曲

                  Ⅳ.小快板

                  王天時,單簧管

                  黃松佳,長  笛

                  葉冰洋,鋼琴伴奏

                  Dmitry Shostakovich (1906-1975)

                  《Vier Walzer·Four Waltzes》for Clarinet, flute and Piano


                  III. Waltz

                  Ⅳ. Allegretto

                  Wang Tianshi, clarinet

                  Huang Songjia, flute

                  Ye Bingyang, piano accompaniment


                                                   ——

                  弗朗茲·克拉瑪(1759-1831)

                  《單簧管二重奏》


                  王天時,第一單簧管

                  謝玉鑫,第二單簧管

                  李文琦,鋼琴伴奏

                  Franz Krama (1759-1831)

                  《Concerto》 for Two Clarinets


                  Wang Tianshi, clarinet I

                  Xie Yuxin, clarinet II

                  Li Wenqi, piano accompaniment


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                  藝術家介紹 | Artist




                  王天時,單簧管演奏家



                         王天時杭州師范大學音樂學院青年教師。出生于遼寧錦州,曾就讀于上海音樂學院、公派留學日內瓦大學音樂學院。先后師從董德軍教授、趙曾茂教授、何也墨副教授、世界著名單簧管演奏家Romain Guyot。曾受邀參加法國尼斯國際音樂節、中國東盟音樂節、韓國大邱國際音樂劇節、上海之春等多個音樂節。他的演奏風格獨特、技術全面,在追求古典音樂的同時,也活躍于先鋒音樂、爵士音樂、音樂劇等音樂舞臺。在瑞士日內瓦Victoria Hall、上海大劇院、上海東方藝術中心等地成功舉辦多次個人獨奏、重奏等不同種類的百余場音樂會。

                         2019年獲得首屆“布菲杯”全國單簧管比賽職業青年組第三名。2017“華樂聯盟·上?!鼻嗌倌陠位晒苎葑啾荣愔蝎@得職業重奏組第一名?!?016學院獎》作曲比賽中獲得演奏金獎。







                  李文琦,鋼琴演奏家





                         李文琦,上海音樂學院附中藝術指導青年教師。曾就讀于上海音樂學院、公派留學德國漢堡音樂與戲劇學院。師從楊韻琳教授、郁音嘉、Mauro Lo Conte。

                         曾先后在意大利、德國、加拿大、美國、西班牙、塞爾維亞以及中國各大城市演出,與意大利錫耶納市交響樂團、香港管弦樂團、湖北交響樂團、廈門愛樂樂團、上海愛樂樂團、塞爾維亞貝爾格萊德電視廣播交響樂團等合作鋼琴協奏曲,均獲強烈好評。

                         獲“文華藝術院校獎”第二屆全國鋼琴比賽專業青年組第一名;第四屆意大利“Ischia”國際鋼琴比賽成人組第一名;第44屆貝爾格萊德Jeunesses國際音樂比賽決賽大獎&指定曲目獎&塞爾維亞作曲家協會特別獎;2015美國保護組織國際音樂大賽室內樂成人組第二名等國內外大獎。2017年發行的“中國鋼琴獨奏作品百年經典”收錄了她演繹的鄒魯先生鋼琴奏鳴曲《青春之詩》。







                  謝玉鑫,單簧管專業,現杭州師范大學音樂學院音樂學專業大三學生。來自湖南醴陵,大二開始接觸單簧管。師從王天時老師,并在其悉心指導下,進步飛速,現已能完整吹奏許多著名樂曲,如《弄臣幻想曲》、勃拉姆斯《單簧管奏鳴曲I、II》、韋伯《小協奏曲》《德彪西第一狂想曲》等。且于2019年獲得杭州師范大學舉辦的六藝節器樂大賽一等獎,參加過多次演出,均獲得主辦單位的認可。


                  吳佳瑩,單簧管專業,來自浙江江山,現杭州師范大學音樂學(師范)大三學生。2017年以浙江省27名成績進入杭州師范大學音樂學院。大二時主修單簧管專業,師從王天時老師。在學習鋼琴和單簧管方面皆有十分出色的天賦,加之自己的樂于求學和老師的傾囊相授,在學習單簧管方面展現了不俗的優異表現。


                  黃松佳,來自湖南郴州,長笛專業,現杭州師范大學音樂學院音樂學專業大三學生,高中時開始學習長笛。師從王天時老師,在其悉心指導下,慢慢掌握了多種音樂風格的演奏,如古典時期、浪漫時期的風格特征,對樂曲處理上有了更深一層的理解,技術上也有了很大的提升,并逐步完善了演奏過程中的演奏法。




                  曲目介紹 | Program




                  德彪西:《第一號單簧管狂想曲》

                  Debussy:《Première rhapsodie》


                        法國作曲家德彪西(Claude Debussy, 1862-1918)的「第一號單簧管狂想曲」可說是很熟悉的一首作品。德彪西善于讓音樂產生聯想,不論是細微的音色變化,或是營造整體氣氛,都在二十世紀產生很大的影響?!暗谝惶枂位晒芸裣肭辈捎脝螛氛碌男问?,有著最典型德彪西的風格,充滿迷濛的氣氛。德彪西在樂譜上標記著“如夢幻般緩慢”的指示,“如夢幻般”應該是怎么樣的一種感覺?相信對于詮釋的人而言,就有各種不同的想像空間。從一開始,音樂就導向那種如夢境一般朦朧的畫面。德彪西將單簧管的主題旋律寫得很優美,和聲的用法與其他作曲家不同,而且這首狂想曲有許多技巧上的挑戰,也有速度很快的滑音,另外值得一提的是,這個曲子的節奏變化復雜,從四分之四拍變成四分之三拍和四分之二拍,如此進行自由的變化,管弦樂則運用到三連音、切分音、斷奏,并加入豎琴的琶音,形成非常豐富的色彩。德彪西的印象樂派管弦樂法很纖細,和單簧管時而抒情、時而鋒利的音響形成對比,德彪西這首狂想曲不僅很適合比賽,旋律也非常討喜,進而成為二十世紀單簧管音樂最重要的曲目之一,也是每位單簧管演奏家必定會吹到的名曲。德彪西自己也說過,這首作品是他寫過的音樂中,最愉快也最喜歡的作品之一。


                                         


                  French composer Claude Debussy (1862-1918)《Première rhapsodieis》 a very familiar work. Debussy is good at associating music. Whether it's subtle changes in timbre or creating an overall atmosphere, it has a great influence in the 20th century. "Rhapsody of No. 1 clarinet" is in the form of a single movement, with the most typical Debussy style and full of mystical atmosphere. Debussy marks the indication of "dream like slow" on the music score. What kind of feeling should "dream like" be? I believe that there are different imaginations for the interpreter From the beginning, music was directed to the dreamlike, hazy picture. Debussy wrote the theme melody of clarinet beautifully. The use of harmony is different from other composers. Moreover, this Rhapsody has many technical challenges, as well as a fast glide. In addition, it is worth mentioning that the rhythm of this piece is complex, from quarter beat to quarter beat and quarter beat. In this way, the orchestral music can be used freely To triple, syncopation, staccato, and add harp arpeggio, forming a very rich color. Debussy's Impressionist orchestral method is very delicate, which is in contrast with the lyric and sharp sound of clarinet. Debussy's Rhapsody is not only suitable for competition, but also very pleasant in melody. It has become one of the most important pieces of clarinet music in the 20th century, and it is also a famous piece that every clarinet player is bound to play. Debussy himself also said that this work is one of the most enjoyable and favorite works of his music.


                  巴斯:《弄臣幻想曲》

                  Bassi :《RIGOLETTO.》


                      單簧管《弄臣幻想曲》是一首變奏曲,結構由二部曲式所組成,以變奏的形式為主。在音樂巾,通過層層漸進的方式,通過單簧管悠揚的曲風和演奏者嫻熟的技術潤色音色,為聽眾帶來耳朵的美好享受和心靈的洗禮。單簧管《弄臣幻想曲》在進入主題之前,首先是借助單簧管進行獨奏,營造一個美好的畫面感,隨著單簧管的推進,故事逐漸拉開帷幕,以將b小凋開始的引子,緊接著以鋼琴先進入,單簧管和鋼琴的琴瑟和鳴,為《弄臣幻想曲》增進了更多的情感色彩?!杜蓟孟肭返诙冏嗟男芍饾u變得悠揚而緩慢,單簧管節奏的白巾性較強,為人們帶來了更多的想象空問。隨著音樂的層層遞進,故事的情節循序漸進的發展。音樂欣賞的過程同樣也是故事發展的過程。隨著最后單簧管快速度的華彩,鋼琴伴奏結束在F大調之上,將整個樂曲詮釋完畢,留給人們更多的遐想和回味。


                                         


                  Clarinet 《RIGOLETTO.》is a variation, which is composed of two parts, mainly in the form of variations. In the music towel, through the gradual way, through the melodious music style of the clarinet and the skillful technology of the performer to touch up the tone, it will bring the audience the beautiful enjoyment of the ear and the baptism of the soul. Before entering the theme, the clarinet《RIGOLETTO.》of the jester first uses the clarinet for solo to create a beautiful sense of picture. With the advancement of the clarinet, the story gradually opens to introduce the beginning of B's withering. Then the piano enters first. The clarinet and the piano's harp and Sonata enhance more emotional color for the《RIGOLETTO.》. The melody of the second variation of 《RIGOLETTO.》 gradually becomes melodious and slow, and the clarinet rhythm has a strong white scarf, which brings people more imaginary questions. With the development of music, the plot of the story develops step by step. The process of music appreciation is also the process of story development. With the rapid development of clarinet, piano accompaniment ended in F major, and the whole music was interpreted, leaving people more reverie and aftertaste.


                  曼加尼:《演奏者幻想曲》

                  Mangani:《EXECUTIVE》


                         Michele Mangani 出生于意大利烏爾比諾,他在意大利Pesaro羅西尼音樂學院先后取得了單簧管、管樂器法、作曲和樂隊指揮學位,在博洛尼亞馬蒂尼音樂學院取得了合唱音樂與合唱指揮學位。從1985年起 Michele Mangani 開始在指揮方面嶄露頭角隨后逐漸活躍于指揮舞臺。曾指揮過包括烏爾比諾 Cappella del SS.Sacramento 交響管樂團、烏爾比諾學院愛樂樂團、佩扎羅交響樂團在內的許多管樂團、弦樂團和管弦樂團。他在指揮上也獲得了一些獎項,包括1993年全國學院指揮比賽的第二名和1996年意大利軍方舉辦的全國管樂團指揮比賽的第一名。該曲是他為單簧管而作。


                                               


                  Michele Mangani was born in Urbino, Italy. He has obtained degrees in Clarinet, wind instrument method, composition and orchestra conductor from Pesaro Rossini Conservatory of music, and in choral music and choral conductor from Martini Conservatory of music in Bologna. Since 1985, Michele Mangani began to make a figure in the field of command and then gradually became active in the command stage. He has directed many orchestras, orchestras and orchestras including the cappella del ss.sacramento Symphony Orchestra, the Urbino academy Philharmonic Orchestra and the pezaro Symphony Orchestra. He also won a number of awards in conducting, including the second place in the National Academy conducting competition in 1993 and the first place in the National Orchestra conducting competition held by the Italian military in 1996


                  舒曼:《三首浪漫曲》

                  Schumann:《Three romance》


                          浪漫主義時期作品,該曲作于1839年,原曲作為雙簧管與長笛演奏,蘊涵著舒曼為愛情與克拉拉父親做斗爭的強烈矛盾,充滿時代性的浪漫色彩。


                         第一首以Moderato為起速,音樂流暢而連貫,鋼琴與雙簧管地位平等,都是經過精心安排的,旋律線條并不華麗,卻極有意境,和聲仍使用了傳統的主屬功能進行。是一首非常具有浪漫色彩的音樂,雙簧管表現出了質樸的歡樂和悲愴。


                        第二首曲子是一首對比性三段式,由A大調進入,使用4/4拍的節奏。鋼琴聲部使用了八分等分節奏型、和弦分解織體。雙簧管旋律與鋼琴聲部相融合,也是和聲中的和弦音。


                        第三首曲子是使用對比中部的三部曲式,這一首曲子似乎在結構上更象是上一首曲子的擴大,調性卻是同第一首曲子一樣,一開始由鋼琴聲部和雙簧管一起呈示a小調旋律主題,同舒曼的《幻想曲》有些相似。隨后使用Ⅴ7—Ⅰ的琶音和弦,緊接著又同樣重復一遍,旋律同前面相比之下更具有朦朧感。


                        這三首作品處理得十分的精致,無論是從旋律、調性、和聲以及曲式結構來看,都是非常清晰而明朗的。作者不但追求的是作品表面的音色效果,而更注重內在的抒情色彩。這三首作品使用了大量的和聲性織體和其優美抒情的歌唱性旋律,用鋼琴淡淡的伴奏襯托出雙簧管寧靜平緩的旋律,其間有小部分情緒高漲。


                                                     


                  In the romantic period, this piece was composed in 1839. As a oboe and flute performance, the original piece contains a strong contradiction between Schumann's struggle for love and Clara's father, full of the romantic color of the times.

                  The first one is based on the Moderato. The music is smooth and coherent. The piano and oboe are equal. They are all carefully arranged. The melody lines are not gorgeous, but they have artistic conception. Harmony still uses the traditional main function. It is a very romantic music. Oboe shows simple joy and sadness.

                  The second piece is a comparative three-part form, entered from a major, using a 4 / 4 beat rhythm. The piano part is composed of octave rhythm type and chord decomposition texture. The combination of oboe melody and piano part is also the chord in harmony.

                  The third piece is a comparison of the central trilogy, which seems to be more like the expansion of the previous piece in structure, but the tonality is the same as the first piece. At first, the piano part and oboe together show the theme of a minor melody, which is similar to Schumann's Fantasia. Then we use the arpeggio chord of V 7-i, and repeat it again. The melody is more hazy than before.

                  These three works are very delicate, no matter from the melody, tonality, harmony and musical structure, they are very clear and clear. The author not only pursues the timbre effect on the surface of the work, but also pays more attention to the inner Lyric color. These three works use a large number of harmonic texture and its beautiful lyrical singing melody, and use the piano's light accompaniment to set off the oboe's quiet and gentle melody, in which a small part of the mood is high.


                  斯特拉文斯基:《三首無伴奏小品》

                  Stravinsky:《Three pieces》


                          三首單簧管小品(1882~1971)伊戈爾 斯特拉文斯基在1919年創作的帶有爵士味的三首單簧管小品,不但是作者創作生涯中的第一首無伴奏的器樂作品,也是史上單簧管音樂會曲目中的第一首無伴奏樂曲。1918年瑞士指揮家安塞爾梅 歐內斯特邂逅了在瑞士避難的斯特拉文斯基。隨后幾個月,斯特拉文斯基欣賞了歐內斯特指揮的爵士樂隊的演出,對新音樂的興趣變得更加濃厚,這體現在1919年創作的三首單簧管小品。

                  三首單簧管小品創作依賴俄羅斯的民間題材和音樂素材。音樂結構有相對獨立性,整部作品接近酒吧歌舞和街頭娛樂表演的氛圍,并吸收了探戈圓舞曲拉格泰姆和進行曲等通俗音樂的因素。


                                             


                  Three clarinet pieces (1882-1971) three clarinet pieces with jazz flavor created by Igor Stravinsky in 1919 are not only the first instrumental work without accompaniment in the author's creation career, but also the first unaccompanied music in the clarinet concert repertoire in history. In 1918, anselme Ernest, a Swiss conductor, met Stravinsky, who had taken refuge in Switzerland. In the following months, Stravinsky enjoyed the performance of the jazz band directed by Ernest, and became more interested in new music, which was reflected in three clarinet pieces created in 1919.

                  The creation of three clarinet pieces relies on Russian Folk Themes and music materials. The music structure is relatively independent. The whole work is close to the atmosphere of bar singing and dancing and street entertainment, and absorbs the elements of popular music such as Tango Waltz Ragtime and March.


                  米約:《三重奏》為單簧管,小提琴與鋼琴而作

                  Miyo:《SUITE》 for Clarinet, Violin and Piano


                         二十世紀法國新古典主義音樂的代表作曲家達律斯·米約于1936年創作的《鋼琴三重奏組曲》Op.157是一部包含鋼琴、小提琴、單簧管的室內樂作品。

                  作品中顯露出米約獨具一格的創作特色,及通過細膩的配器、精湛的作曲技法,賦予質樸的旋律以色彩斑斕的音響效果,因其豐富的音樂形象與熱鬧的音樂氣氛而聞名。


                                         

                   

                  The piano trio suite op.157, written by Darius Miyo, the representative composer of French neoclassical music in the 20th century, is a chamber music work including piano, Violin and clarinet.

                  The works show the unique creative features of Miyo, and through delicate accessories and exquisite composing techniques, the simple melody is endowed with colorful sound effect, which is famous for its rich musical image and lively music atmosphere.



                  肖斯塔科維奇:《四首華爾茲圓舞曲》

                  Shostakovich:《Vier Walzer·Four Waltzes》


                          德米特里·德米特里耶維奇·肖斯塔科維奇(1906-1975)生于彼得格勒,他是20世紀最重要的音樂人物之一。他是一位強調音樂創作的思想性而又善于運用音樂手段表達思想的藝術家。他也是一位孜孜不倦的藝術革新家,但他的創作又與傳統保持著密切的聯系。他的藝術面貌是異常獨特的,音樂語言和風格處處表現出自成一家的鮮明特征。        他的旋律常以古調式為基礎;尤其是陣音級的各種所謂“肖斯塔科維奇調式”的頻繁運用,以及在一個主題內經常的調式突變,形成了一系列具有特殊表現力的樂匯他的旋律富于朗誦性,尤其是器樂的宣敘性獨白更是情味深長。         他的和聲很有特色,有時寫得非常簡單樸素(甚至僅限主、屬和弦),有時又異常復雜,富于刺激性(如由自然音列全部七音或由全部十二個半音構成的和弦)。他擴展了傳統的復調技術,給賦格、帕薩卡里亞等古老復調形式注入了現代內容。他的配器不傾向于色彩性的渲染,而著力于戲劇性的刻畫,樂器的音色好像劇中角色,直接參與“劇情”的發展,是表現矛盾沖突的有力手段。他在曲式方面的獨創性也很突出。他的交響套曲結構和各樂章之間的功能關系,從不拘泥一格,而是按構思需要靈活變化。這首華爾茲三重奏作品不僅緊扣圓舞曲的風格特點,還分別用長笛和單簧管這兩種樂器來描繪兩個正在跳舞的人,給聽眾營造了豐富的想象空間。整個樂曲中這兩個聲部以各種方式始終交織在一起,這樣的音響效果給人一種立體的畫面感。而貫穿整個作品的鋼琴聲部是這首樂曲中最為重要的配器,它不但承擔著穩定和聲轉換調性的重任,還要以飽滿清脆又充滿力量和熱情的音色鋪墊節奏,給予全曲最基本的律動。三種樂器和它們各自的聲部相輔相成,描繪出一場華麗的舞會。


                                             


                  Dmitry Dmitry jevich Shostakovich (1906-1975), born in Petrograd, is one of the most important musical figures in the 20th century. He is an artist who emphasizes the ideological nature of music creation and is good at using music means to express his thoughts. He is also a tireless art innovator, but his creation is closely related to the tradition. His artistic appearance is very unique, and his music language and style are all distinctive features of his family. His melody is often based on the ancient mode, especially the frequent use of various so-called "Shostakovich modes" at the array level, and the frequent mode mutation within a theme, forming a series of music with special expressive force. His melody is rich in recitation, especially the recitation monologue of instrumental music, which is more emotional. His chords are very distinctive, sometimes they are very simple and simple (even limited to the main and subordinate chords), sometimes they are extremely complex and stimulating (such as the chords composed of all seven natural sounds or all twelve semitones). He expanded the traditional polyphony technology and injected modern content into the old polyphony forms such as Fugue and pasacaglia. His accessories do not tend to color rendering, but focus on dramatic depiction. The timbre of the instrument is like the role in the play, directly participating in the development of the "plot", which is a powerful means to express contradictions and conflicts. His originality in the form is also outstanding. The structure of his symphonic suite and the functional relationship between the movements are not rigid, but flexible according to the needs of the conception. This waltz trio is not only closely related to the style and characteristics of waltz, but also uses flute and clarinet to depict two people who are dancing, creating a rich imagination space for the audience. In the whole music, these two parts are always interwoven in various ways, so the sound effect gives a three-dimensional picture sense. The piano part running through the whole work is the most important accessory in this piece. It not only undertakes the task of stable harmony conversion, but also provides the most basic rhythm of the whole piece with a full, clear, powerful and enthusiastic tone. The three instruments and their respective parts complement each other, depicting a gorgeous dance.


                  克拉瑪:《單簧管二重奏》

                  Krama:《Concerto》 for Two Clarinets


                        克拉瑪:(1759年11月27日-1831年1月8日),摩拉維亞作曲家,小提琴家。早年學習小提琴,移居維也納后曾在樂隊中任職。1790年移居布達佩斯,1795年回到維也納,1813年進入奧地利宮廷供職直到去世??肆_默爾的作品很多,風格各異,有部分作品體現了一定的浪漫主義色彩。他的管樂作品目前演奏較多。該曲是他為單簧管而作的單簧管二重奏


                                           


                  Klama: (1759年11月27日-1831年1月8日), Moravian composer and violinist. He studied violin in his early years and worked in a band after moving to Vienna. He moved to Budapest in 1790, returned to Vienna in 1795, and joined the Austrian court in 1813 until his death. There are many Cromer's works with different styles, and some of them embody certain romanticism. His orchestral works are playing more at present. It's a clarinet duet he made for the clarinet.


                  表演

                  音樂會預告丨王天時教學實踐音樂會

                  · 2019-11-26

                  王天時教學實踐音樂會

                  Wang Tianshi teaching practice concert


                  2019.11.28,19:00

                  西林音樂廳 | Xilin Concert Hall

                  曲目|Program


                  阿希爾-克勞德·德彪西(1862-1918)

                  《第一號單簧管狂想曲》(1910)


                  王天時,單簧管

                  李文琦,鋼琴伴奏


                  Asher Claude Debussy (1862-1918)

                  《Première rhapsodie》(1910)


                  Wang Tianshi, clarinet

                  Li Wenqi, piano accompaniment


                                                   ——

                  路易吉·巴斯(1833-1871)

                  《弄臣幻想曲》


                  謝玉鑫,單簧管

                  程凌靜,鋼琴伴奏


                  Luigi Bassi (1833-1871)

                  《RIGOLETTO.》


                  Xie Yuxin, clarinet

                  Cheng Lingjing, piano accompaniment

                  ——

                  米歇爾·曼加尼

                  《演奏者幻想曲》


                  吳佳瑩,單簧管

                  胡與同,鋼琴伴奏

                  Michel Mangani

                  《EXECUTIVE》


                  Wu Jiaying, clarinet

                  Hu Yu Tong, piano accompaniment

                                                 ——

                  羅伯特.舒曼(1810-1856)

                  《三首浪漫曲》


                  黃松佳,長笛

                  李文琦,鋼琴伴奏

                  Robert Schumann (1810-1856)

                  《Three romance》


                  Huang Song Jia, flute

                  Li Wenqi, piano accompaniment


                  —— 中場休息 | Intermission ——


                  伊戈爾·菲德洛維奇·斯特拉文斯基(1882-1971)

                  《三首無伴奏小品》——為單簧管而作(1919)


                  王天時,單簧管


                  Igor Fedorovitch Stravinsky(1882-1971)

                  《Three pieces》for clarinet(1919)


                  Wang Tianshi, clarinet

                  Li Wenqi, piano accompaniment

                  ——

                  達律斯·米約(1892-1974)

                  《三重奏》——為單簧管、小提琴與鋼琴而作(1957)


                  Ⅰ.序曲:活潑而快樂

                  Ⅱ.舞蹈段落:活潑的

                  Ⅲ.活潑的

                  Ⅳ. 中板、活潑的

                  謝玉鑫,單簧管

                  周  晴,小提琴

                  程凌靜,鋼琴伴奏

                  Darius Milhaud (1892-1974)

                  《SUITE》 for Clarinet, Violin and Piano (1957)


                  I. Overture:Vif et gai

                  II. Divertissement:Anime

                  III. Jeu:Vif

                  Ⅳ. Introduction et Final:Modere

                  Xie Yuxin, clarinet

                  Zhou Qing, Violin

                  Cheng Lingjing, piano accompaniment

                                                                     ——

                  德米特里·肖斯塔科維奇(1906-1975)

                  《四首華爾茲圓舞曲》——為單簧管、長笛與鋼琴而作


                  Ⅲ.圓舞曲

                  Ⅳ.小快板

                  王天時,單簧管

                  黃松佳,長  笛

                  葉冰洋,鋼琴伴奏

                  Dmitry Shostakovich (1906-1975)

                  《Vier Walzer·Four Waltzes》for Clarinet, flute and Piano


                  III. Waltz

                  Ⅳ. Allegretto

                  Wang Tianshi, clarinet

                  Huang Songjia, flute

                  Ye Bingyang, piano accompaniment


                                                   ——

                  弗朗茲·克拉瑪(1759-1831)

                  《單簧管二重奏》


                  王天時,第一單簧管

                  謝玉鑫,第二單簧管

                  李文琦,鋼琴伴奏

                  Franz Krama (1759-1831)

                  《Concerto》 for Two Clarinets


                  Wang Tianshi, clarinet I

                  Xie Yuxin, clarinet II

                  Li Wenqi, piano accompaniment


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                  藝術家介紹 | Artist




                  王天時,單簧管演奏家



                         王天時杭州師范大學音樂學院青年教師。出生于遼寧錦州,曾就讀于上海音樂學院、公派留學日內瓦大學音樂學院。先后師從董德軍教授、趙曾茂教授、何也墨副教授、世界著名單簧管演奏家Romain Guyot。曾受邀參加法國尼斯國際音樂節、中國東盟音樂節、韓國大邱國際音樂劇節、上海之春等多個音樂節。他的演奏風格獨特、技術全面,在追求古典音樂的同時,也活躍于先鋒音樂、爵士音樂、音樂劇等音樂舞臺。在瑞士日內瓦Victoria Hall、上海大劇院、上海東方藝術中心等地成功舉辦多次個人獨奏、重奏等不同種類的百余場音樂會。

                         2019年獲得首屆“布菲杯”全國單簧管比賽職業青年組第三名。2017“華樂聯盟·上?!鼻嗌倌陠位晒苎葑啾荣愔蝎@得職業重奏組第一名?!?016學院獎》作曲比賽中獲得演奏金獎。







                  李文琦,鋼琴演奏家





                         李文琦,上海音樂學院附中藝術指導青年教師。曾就讀于上海音樂學院、公派留學德國漢堡音樂與戲劇學院。師從楊韻琳教授、郁音嘉、Mauro Lo Conte。

                         曾先后在意大利、德國、加拿大、美國、西班牙、塞爾維亞以及中國各大城市演出,與意大利錫耶納市交響樂團、香港管弦樂團、湖北交響樂團、廈門愛樂樂團、上海愛樂樂團、塞爾維亞貝爾格萊德電視廣播交響樂團等合作鋼琴協奏曲,均獲強烈好評。

                         獲“文華藝術院校獎”第二屆全國鋼琴比賽專業青年組第一名;第四屆意大利“Ischia”國際鋼琴比賽成人組第一名;第44屆貝爾格萊德Jeunesses國際音樂比賽決賽大獎&指定曲目獎&塞爾維亞作曲家協會特別獎;2015美國保護組織國際音樂大賽室內樂成人組第二名等國內外大獎。2017年發行的“中國鋼琴獨奏作品百年經典”收錄了她演繹的鄒魯先生鋼琴奏鳴曲《青春之詩》。







                  謝玉鑫,單簧管專業,現杭州師范大學音樂學院音樂學專業大三學生。來自湖南醴陵,大二開始接觸單簧管。師從王天時老師,并在其悉心指導下,進步飛速,現已能完整吹奏許多著名樂曲,如《弄臣幻想曲》、勃拉姆斯《單簧管奏鳴曲I、II》、韋伯《小協奏曲》《德彪西第一狂想曲》等。且于2019年獲得杭州師范大學舉辦的六藝節器樂大賽一等獎,參加過多次演出,均獲得主辦單位的認可。


                  吳佳瑩,單簧管專業,來自浙江江山,現杭州師范大學音樂學(師范)大三學生。2017年以浙江省27名成績進入杭州師范大學音樂學院。大二時主修單簧管專業,師從王天時老師。在學習鋼琴和單簧管方面皆有十分出色的天賦,加之自己的樂于求學和老師的傾囊相授,在學習單簧管方面展現了不俗的優異表現。


                  黃松佳,來自湖南郴州,長笛專業,現杭州師范大學音樂學院音樂學專業大三學生,高中時開始學習長笛。師從王天時老師,在其悉心指導下,慢慢掌握了多種音樂風格的演奏,如古典時期、浪漫時期的風格特征,對樂曲處理上有了更深一層的理解,技術上也有了很大的提升,并逐步完善了演奏過程中的演奏法。




                  曲目介紹 | Program




                  德彪西:《第一號單簧管狂想曲》

                  Debussy:《Première rhapsodie》


                        法國作曲家德彪西(Claude Debussy, 1862-1918)的「第一號單簧管狂想曲」可說是很熟悉的一首作品。德彪西善于讓音樂產生聯想,不論是細微的音色變化,或是營造整體氣氛,都在二十世紀產生很大的影響?!暗谝惶枂位晒芸裣肭辈捎脝螛氛碌男问?,有著最典型德彪西的風格,充滿迷濛的氣氛。德彪西在樂譜上標記著“如夢幻般緩慢”的指示,“如夢幻般”應該是怎么樣的一種感覺?相信對于詮釋的人而言,就有各種不同的想像空間。從一開始,音樂就導向那種如夢境一般朦朧的畫面。德彪西將單簧管的主題旋律寫得很優美,和聲的用法與其他作曲家不同,而且這首狂想曲有許多技巧上的挑戰,也有速度很快的滑音,另外值得一提的是,這個曲子的節奏變化復雜,從四分之四拍變成四分之三拍和四分之二拍,如此進行自由的變化,管弦樂則運用到三連音、切分音、斷奏,并加入豎琴的琶音,形成非常豐富的色彩。德彪西的印象樂派管弦樂法很纖細,和單簧管時而抒情、時而鋒利的音響形成對比,德彪西這首狂想曲不僅很適合比賽,旋律也非常討喜,進而成為二十世紀單簧管音樂最重要的曲目之一,也是每位單簧管演奏家必定會吹到的名曲。德彪西自己也說過,這首作品是他寫過的音樂中,最愉快也最喜歡的作品之一。


                                         


                  French composer Claude Debussy (1862-1918)《Première rhapsodieis》 a very familiar work. Debussy is good at associating music. Whether it's subtle changes in timbre or creating an overall atmosphere, it has a great influence in the 20th century. "Rhapsody of No. 1 clarinet" is in the form of a single movement, with the most typical Debussy style and full of mystical atmosphere. Debussy marks the indication of "dream like slow" on the music score. What kind of feeling should "dream like" be? I believe that there are different imaginations for the interpreter From the beginning, music was directed to the dreamlike, hazy picture. Debussy wrote the theme melody of clarinet beautifully. The use of harmony is different from other composers. Moreover, this Rhapsody has many technical challenges, as well as a fast glide. In addition, it is worth mentioning that the rhythm of this piece is complex, from quarter beat to quarter beat and quarter beat. In this way, the orchestral music can be used freely To triple, syncopation, staccato, and add harp arpeggio, forming a very rich color. Debussy's Impressionist orchestral method is very delicate, which is in contrast with the lyric and sharp sound of clarinet. Debussy's Rhapsody is not only suitable for competition, but also very pleasant in melody. It has become one of the most important pieces of clarinet music in the 20th century, and it is also a famous piece that every clarinet player is bound to play. Debussy himself also said that this work is one of the most enjoyable and favorite works of his music.


                  巴斯:《弄臣幻想曲》

                  Bassi :《RIGOLETTO.》


                      單簧管《弄臣幻想曲》是一首變奏曲,結構由二部曲式所組成,以變奏的形式為主。在音樂巾,通過層層漸進的方式,通過單簧管悠揚的曲風和演奏者嫻熟的技術潤色音色,為聽眾帶來耳朵的美好享受和心靈的洗禮。單簧管《弄臣幻想曲》在進入主題之前,首先是借助單簧管進行獨奏,營造一個美好的畫面感,隨著單簧管的推進,故事逐漸拉開帷幕,以將b小凋開始的引子,緊接著以鋼琴先進入,單簧管和鋼琴的琴瑟和鳴,為《弄臣幻想曲》增進了更多的情感色彩?!杜蓟孟肭返诙冏嗟男芍饾u變得悠揚而緩慢,單簧管節奏的白巾性較強,為人們帶來了更多的想象空問。隨著音樂的層層遞進,故事的情節循序漸進的發展。音樂欣賞的過程同樣也是故事發展的過程。隨著最后單簧管快速度的華彩,鋼琴伴奏結束在F大調之上,將整個樂曲詮釋完畢,留給人們更多的遐想和回味。


                                         


                  Clarinet 《RIGOLETTO.》is a variation, which is composed of two parts, mainly in the form of variations. In the music towel, through the gradual way, through the melodious music style of the clarinet and the skillful technology of the performer to touch up the tone, it will bring the audience the beautiful enjoyment of the ear and the baptism of the soul. Before entering the theme, the clarinet《RIGOLETTO.》of the jester first uses the clarinet for solo to create a beautiful sense of picture. With the advancement of the clarinet, the story gradually opens to introduce the beginning of B's withering. Then the piano enters first. The clarinet and the piano's harp and Sonata enhance more emotional color for the《RIGOLETTO.》. The melody of the second variation of 《RIGOLETTO.》 gradually becomes melodious and slow, and the clarinet rhythm has a strong white scarf, which brings people more imaginary questions. With the development of music, the plot of the story develops step by step. The process of music appreciation is also the process of story development. With the rapid development of clarinet, piano accompaniment ended in F major, and the whole music was interpreted, leaving people more reverie and aftertaste.


                  曼加尼:《演奏者幻想曲》

                  Mangani:《EXECUTIVE》


                         Michele Mangani 出生于意大利烏爾比諾,他在意大利Pesaro羅西尼音樂學院先后取得了單簧管、管樂器法、作曲和樂隊指揮學位,在博洛尼亞馬蒂尼音樂學院取得了合唱音樂與合唱指揮學位。從1985年起 Michele Mangani 開始在指揮方面嶄露頭角隨后逐漸活躍于指揮舞臺。曾指揮過包括烏爾比諾 Cappella del SS.Sacramento 交響管樂團、烏爾比諾學院愛樂樂團、佩扎羅交響樂團在內的許多管樂團、弦樂團和管弦樂團。他在指揮上也獲得了一些獎項,包括1993年全國學院指揮比賽的第二名和1996年意大利軍方舉辦的全國管樂團指揮比賽的第一名。該曲是他為單簧管而作。


                                               


                  Michele Mangani was born in Urbino, Italy. He has obtained degrees in Clarinet, wind instrument method, composition and orchestra conductor from Pesaro Rossini Conservatory of music, and in choral music and choral conductor from Martini Conservatory of music in Bologna. Since 1985, Michele Mangani began to make a figure in the field of command and then gradually became active in the command stage. He has directed many orchestras, orchestras and orchestras including the cappella del ss.sacramento Symphony Orchestra, the Urbino academy Philharmonic Orchestra and the pezaro Symphony Orchestra. He also won a number of awards in conducting, including the second place in the National Academy conducting competition in 1993 and the first place in the National Orchestra conducting competition held by the Italian military in 1996


                  舒曼:《三首浪漫曲》

                  Schumann:《Three romance》


                          浪漫主義時期作品,該曲作于1839年,原曲作為雙簧管與長笛演奏,蘊涵著舒曼為愛情與克拉拉父親做斗爭的強烈矛盾,充滿時代性的浪漫色彩。


                         第一首以Moderato為起速,音樂流暢而連貫,鋼琴與雙簧管地位平等,都是經過精心安排的,旋律線條并不華麗,卻極有意境,和聲仍使用了傳統的主屬功能進行。是一首非常具有浪漫色彩的音樂,雙簧管表現出了質樸的歡樂和悲愴。


                        第二首曲子是一首對比性三段式,由A大調進入,使用4/4拍的節奏。鋼琴聲部使用了八分等分節奏型、和弦分解織體。雙簧管旋律與鋼琴聲部相融合,也是和聲中的和弦音。


                        第三首曲子是使用對比中部的三部曲式,這一首曲子似乎在結構上更象是上一首曲子的擴大,調性卻是同第一首曲子一樣,一開始由鋼琴聲部和雙簧管一起呈示a小調旋律主題,同舒曼的《幻想曲》有些相似。隨后使用Ⅴ7—Ⅰ的琶音和弦,緊接著又同樣重復一遍,旋律同前面相比之下更具有朦朧感。


                        這三首作品處理得十分的精致,無論是從旋律、調性、和聲以及曲式結構來看,都是非常清晰而明朗的。作者不但追求的是作品表面的音色效果,而更注重內在的抒情色彩。這三首作品使用了大量的和聲性織體和其優美抒情的歌唱性旋律,用鋼琴淡淡的伴奏襯托出雙簧管寧靜平緩的旋律,其間有小部分情緒高漲。


                                                     


                  In the romantic period, this piece was composed in 1839. As a oboe and flute performance, the original piece contains a strong contradiction between Schumann's struggle for love and Clara's father, full of the romantic color of the times.

                  The first one is based on the Moderato. The music is smooth and coherent. The piano and oboe are equal. They are all carefully arranged. The melody lines are not gorgeous, but they have artistic conception. Harmony still uses the traditional main function. It is a very romantic music. Oboe shows simple joy and sadness.

                  The second piece is a comparative three-part form, entered from a major, using a 4 / 4 beat rhythm. The piano part is composed of octave rhythm type and chord decomposition texture. The combination of oboe melody and piano part is also the chord in harmony.

                  The third piece is a comparison of the central trilogy, which seems to be more like the expansion of the previous piece in structure, but the tonality is the same as the first piece. At first, the piano part and oboe together show the theme of a minor melody, which is similar to Schumann's Fantasia. Then we use the arpeggio chord of V 7-i, and repeat it again. The melody is more hazy than before.

                  These three works are very delicate, no matter from the melody, tonality, harmony and musical structure, they are very clear and clear. The author not only pursues the timbre effect on the surface of the work, but also pays more attention to the inner Lyric color. These three works use a large number of harmonic texture and its beautiful lyrical singing melody, and use the piano's light accompaniment to set off the oboe's quiet and gentle melody, in which a small part of the mood is high.


                  斯特拉文斯基:《三首無伴奏小品》

                  Stravinsky:《Three pieces》


                          三首單簧管小品(1882~1971)伊戈爾 斯特拉文斯基在1919年創作的帶有爵士味的三首單簧管小品,不但是作者創作生涯中的第一首無伴奏的器樂作品,也是史上單簧管音樂會曲目中的第一首無伴奏樂曲。1918年瑞士指揮家安塞爾梅 歐內斯特邂逅了在瑞士避難的斯特拉文斯基。隨后幾個月,斯特拉文斯基欣賞了歐內斯特指揮的爵士樂隊的演出,對新音樂的興趣變得更加濃厚,這體現在1919年創作的三首單簧管小品。

                  三首單簧管小品創作依賴俄羅斯的民間題材和音樂素材。音樂結構有相對獨立性,整部作品接近酒吧歌舞和街頭娛樂表演的氛圍,并吸收了探戈圓舞曲拉格泰姆和進行曲等通俗音樂的因素。


                                             


                  Three clarinet pieces (1882-1971) three clarinet pieces with jazz flavor created by Igor Stravinsky in 1919 are not only the first instrumental work without accompaniment in the author's creation career, but also the first unaccompanied music in the clarinet concert repertoire in history. In 1918, anselme Ernest, a Swiss conductor, met Stravinsky, who had taken refuge in Switzerland. In the following months, Stravinsky enjoyed the performance of the jazz band directed by Ernest, and became more interested in new music, which was reflected in three clarinet pieces created in 1919.

                  The creation of three clarinet pieces relies on Russian Folk Themes and music materials. The music structure is relatively independent. The whole work is close to the atmosphere of bar singing and dancing and street entertainment, and absorbs the elements of popular music such as Tango Waltz Ragtime and March.


                  米約:《三重奏》為單簧管,小提琴與鋼琴而作

                  Miyo:《SUITE》 for Clarinet, Violin and Piano


                         二十世紀法國新古典主義音樂的代表作曲家達律斯·米約于1936年創作的《鋼琴三重奏組曲》Op.157是一部包含鋼琴、小提琴、單簧管的室內樂作品。

                  作品中顯露出米約獨具一格的創作特色,及通過細膩的配器、精湛的作曲技法,賦予質樸的旋律以色彩斑斕的音響效果,因其豐富的音樂形象與熱鬧的音樂氣氛而聞名。


                                         

                   

                  The piano trio suite op.157, written by Darius Miyo, the representative composer of French neoclassical music in the 20th century, is a chamber music work including piano, Violin and clarinet.

                  The works show the unique creative features of Miyo, and through delicate accessories and exquisite composing techniques, the simple melody is endowed with colorful sound effect, which is famous for its rich musical image and lively music atmosphere.



                  肖斯塔科維奇:《四首華爾茲圓舞曲》

                  Shostakovich:《Vier Walzer·Four Waltzes》


                          德米特里·德米特里耶維奇·肖斯塔科維奇(1906-1975)生于彼得格勒,他是20世紀最重要的音樂人物之一。他是一位強調音樂創作的思想性而又善于運用音樂手段表達思想的藝術家。他也是一位孜孜不倦的藝術革新家,但他的創作又與傳統保持著密切的聯系。他的藝術面貌是異常獨特的,音樂語言和風格處處表現出自成一家的鮮明特征。        他的旋律常以古調式為基礎;尤其是陣音級的各種所謂“肖斯塔科維奇調式”的頻繁運用,以及在一個主題內經常的調式突變,形成了一系列具有特殊表現力的樂匯他的旋律富于朗誦性,尤其是器樂的宣敘性獨白更是情味深長。         他的和聲很有特色,有時寫得非常簡單樸素(甚至僅限主、屬和弦),有時又異常復雜,富于刺激性(如由自然音列全部七音或由全部十二個半音構成的和弦)。他擴展了傳統的復調技術,給賦格、帕薩卡里亞等古老復調形式注入了現代內容。他的配器不傾向于色彩性的渲染,而著力于戲劇性的刻畫,樂器的音色好像劇中角色,直接參與“劇情”的發展,是表現矛盾沖突的有力手段。他在曲式方面的獨創性也很突出。他的交響套曲結構和各樂章之間的功能關系,從不拘泥一格,而是按構思需要靈活變化。這首華爾茲三重奏作品不僅緊扣圓舞曲的風格特點,還分別用長笛和單簧管這兩種樂器來描繪兩個正在跳舞的人,給聽眾營造了豐富的想象空間。整個樂曲中這兩個聲部以各種方式始終交織在一起,這樣的音響效果給人一種立體的畫面感。而貫穿整個作品的鋼琴聲部是這首樂曲中最為重要的配器,它不但承擔著穩定和聲轉換調性的重任,還要以飽滿清脆又充滿力量和熱情的音色鋪墊節奏,給予全曲最基本的律動。三種樂器和它們各自的聲部相輔相成,描繪出一場華麗的舞會。


                                             


                  Dmitry Dmitry jevich Shostakovich (1906-1975), born in Petrograd, is one of the most important musical figures in the 20th century. He is an artist who emphasizes the ideological nature of music creation and is good at using music means to express his thoughts. He is also a tireless art innovator, but his creation is closely related to the tradition. His artistic appearance is very unique, and his music language and style are all distinctive features of his family. His melody is often based on the ancient mode, especially the frequent use of various so-called "Shostakovich modes" at the array level, and the frequent mode mutation within a theme, forming a series of music with special expressive force. His melody is rich in recitation, especially the recitation monologue of instrumental music, which is more emotional. His chords are very distinctive, sometimes they are very simple and simple (even limited to the main and subordinate chords), sometimes they are extremely complex and stimulating (such as the chords composed of all seven natural sounds or all twelve semitones). He expanded the traditional polyphony technology and injected modern content into the old polyphony forms such as Fugue and pasacaglia. His accessories do not tend to color rendering, but focus on dramatic depiction. The timbre of the instrument is like the role in the play, directly participating in the development of the "plot", which is a powerful means to express contradictions and conflicts. His originality in the form is also outstanding. The structure of his symphonic suite and the functional relationship between the movements are not rigid, but flexible according to the needs of the conception. This waltz trio is not only closely related to the style and characteristics of waltz, but also uses flute and clarinet to depict two people who are dancing, creating a rich imagination space for the audience. In the whole music, these two parts are always interwoven in various ways, so the sound effect gives a three-dimensional picture sense. The piano part running through the whole work is the most important accessory in this piece. It not only undertakes the task of stable harmony conversion, but also provides the most basic rhythm of the whole piece with a full, clear, powerful and enthusiastic tone. The three instruments and their respective parts complement each other, depicting a gorgeous dance.


                  克拉瑪:《單簧管二重奏》

                  Krama:《Concerto》 for Two Clarinets


                        克拉瑪:(1759年11月27日-1831年1月8日),摩拉維亞作曲家,小提琴家。早年學習小提琴,移居維也納后曾在樂隊中任職。1790年移居布達佩斯,1795年回到維也納,1813年進入奧地利宮廷供職直到去世??肆_默爾的作品很多,風格各異,有部分作品體現了一定的浪漫主義色彩。他的管樂作品目前演奏較多。該曲是他為單簧管而作的單簧管二重奏


                                           


                  Klama: (1759年11月27日-1831年1月8日), Moravian composer and violinist. He studied violin in his early years and worked in a band after moving to Vienna. He moved to Budapest in 1790, returned to Vienna in 1795, and joined the Austrian court in 1813 until his death. There are many Cromer's works with different styles, and some of them embody certain romanticism. His orchestral works are playing more at present. It's a clarinet duet he made for the clarinet.


                  709彩票