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مدخلی به اصول اجرای آثار بتهوون از طریق واکاوی ارتباط تجربه‌ی زیسته و آثار هنرمند (مطالعه موردی آپاسیوناتا در فامینور، شماره ۲۳ اپوس ۵۷) | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| دوره 27، شماره 1، فروردین 1401، صفحه 5-15 اصل مقاله (2.24 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfadram.2022.336293.615621 | ||
| نویسنده | ||
| محمد شله چی* | ||
| عضو هیأت علمی گروه موسیقی، دانشکده هنرهای نمایشی و موسیقی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران | ||
| چکیده | ||
| در اجرای آثار پیانو بتهوون، آنچه پیانیست‌ها را همواره با چالش‌ها و پیچیدگی‌هایی روبرو می‌کند، راه گشودن به بخش‌های دشوار اثر هم از نظر تکنیک و هم از نظر بیانگری احساسی است. در موسیقی بتهوون نوازنده بیش از هر آهنگساز رومانتیک دیگری برای اجرای بهتر اثر درگیر جهان فکری و زیست رنجورانه‌ی هنرمند و تاثیر مستقیم آن بر آفریده‌هایش است. ازین رو ایجاد زمینه‌ای برای این نوع مواجهه با اثر ضروری می‌نماید چرا که تاکید بر بستری که اثر در آن خلق شده است (نظر به آرای صاحب‌نظران علم هرمنوتیک) یکی از روش‌های مهم درک و تفسیر نهایی اثر است. در این مقاله سعی بر آن است که با رویکردی توصیفی تحلیلی و با تکیه بر تجربیات نگارنده در اجرا و تدریس آثار بتهوون، ابتدا به مختصاتی از تجربه‌ی زیسته‌ی هنرمند در دوره‌های مختلف دست پیدا کنیم و به این مساله بپردازیم که بتهوون در چه بستری به ساختارشکنی و نوآوری دست یافته است. سپس به بررسی آنها (بالاخص در بخش دولوپمان) می‌پردازیم. در آخر به بررسی یکی از شاخص‌ترین آثار وی برای پیانو، «آپاسیوناتا» (سونات در فامینور، شماره 23 اپوس 57) و بررسی ساختاری وسبک‌شناسانانه و نیز نکات فنی و تکنیکی پرداخته شده و در انتها نیز پیشنهاداتی برای اجرای هرچه صحیح‌تر اثر آمده است. | ||
| کلیدواژه‌ها | ||
| بتهوون، پیانو، آپاسیوناتا، آثار بتهوون، دولوپمان؛ تجربه‌ی زیسته | ||
| عنوان مقاله [English] | ||
| A Segue into The Principles of Performing Beethoven’s Pieces Through a Study of His Lived Experience (A Case Study of Appassionata No. 23 In F Minor, Op. 57) | ||
| نویسندگان [English] | ||
| MOHAMMAD SHELECHI | ||
| Music Department, School of Performing Arts and Music, University Collage of Fine Arts, University of Tehran | ||
| چکیده [English] | ||
| It is undeniable that an artist’s everyday life directly affects his/her artistic creations: art is not notional, a phenomenon that is produced impervious to other phenomena and/or created in a void without bearing relations to the artist’s life experience. In the case of Beethoven’s music, this is quite pronounced. His music is idiosyncratic and the weight of its creator upon them can be felt in every moment of the performance. As a piano player, I have always found Beethoven’s music fascinating and challenging at the same time. One question in particular demonstrates the character of this challenge best: «How can one approach Beethoven’s œuvre?» More simply put: ‘How can I perform his music?’ Beethoven’s music possesses certain unique features; and the large and weighty shadow of the composer is always looming over the player in all moments of performance. It might be beneficial to players and performers to have a better understanding of this composer’s mentality, temper and disposition, as it could pave the way for better interpretations of his work. Of all the composers in the Romantic period, Beethoven was the first to influence and even dominate the classical music scene of the nineteenth century. Sensitive, yet passionate and driven, he (was a man who) shouldered the weight of his life’s hardships and afflictions. He was excitable, irritable and quick to take offense. His periods of depression were often accompanied by suicidal tendencies. It could be inferred from his letters that he showed little patience when faced with life’s difficulties; when angry, not even his brother Karl was safe from getting a beating at his hands, nor servants from him throwing this or that household item at them. He never married but had several love affairs, including one with a married woman whom we know as « ? » today. Beethoven has written her three love letters imbued with emotion and infatuation. He loved drinking wine and this same substance came to be his undoing. By the age of fifty-six, he was suffering from liver cirrhosis which was the cause of his death. Beethoven’s works for piano, till today, remain among the most important and essential in the classical piano repertoire. To better understand and interpret his work, performers ought to have a grasp of his mindset and character, his illnesses, and most importantly, his hearing loss. Beethoven has created the most significant works for piano, and it is difficult to exaggerate the influence he has had on improving the techniques of piano performance. After his total hearing loss, Beethoven’s contact with society was through his written works, which provide a valuable insight into his latter-day mindset and character. This article will first offer a sketch of Beethoven’s life experience through his correspondences and notes and then explores his musical innovations (especially in the development section) as well as his compositional style. Finally, one of his most influential pieces for piano, Sonata No. 23 in F minor, Op. 57, also known as the ‘Appassionata’ is studied. | ||
| کلیدواژه‌ها [English] | ||
| Beethoven, Piano, Appassionata, Beethoven&rsquo؛ s work, Development, Beethoven&rsquo؛ s life | ||
| مراجع | ||
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دیلتای, ویلهلم (۱۳۹۴), شعر و تجربه, منوچهر صانعی دره بیدی, تهران : ققنوس.
Newman, William S.: Beethoven on Beethoven: Playing His Piano Music His Way. New York: W. W.Norton&Co., 1988. 336p. Schonberg, Harold C.: The Great Pianists. New York: Simon & Schuster Paperbacks., 1962. Beethoven, Ludwig van: Heiligenstadt Testament, originally published: October 6, 1802. Lockwood, Lewis: Beethoven: The Music and the Life. New York, NY: W. W. Norton & Company, 2003. Hershman, D. Jablow / Lieb M.D., Julian. -The Key to Genius: Manic Depression and the Creative Life. -Buffalo: -Prometheus-Books, -1988. Kerst, Friedrich: Beethoven: The Man and the Artist, as Revealed in His Own Words. Ed. Henry Edward Krehbiel. -New-York: -Dover-Publications, -1964. Mai, Francois-Martin: Diagnosing Genius: The Life and Death of Beethoven. -Kingston: -McGill-Queen’s University Press, 2007. Mathew, Nicolas L.: Beethoven’s Political Music and The Idea of The Heroic Style. Cornell University Press, 2006. Jamison, Kay R: Touched with Fire: Manic-Depressive Illness and the Artistic Temperament. New York: Free Press, 1993. Brown, Clive: Classical & Romantic performing practice 1750-1900. Oxford University Press, 2002. | ||
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