19世纪上半叶的音乐新闻关于俄罗斯小提琴学派的报道

S. Gudimova, I. Ran
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引用次数: 0

摘要

自十九世纪初以来,俄罗斯新闻界向读者通报了所有音乐事件。虽然这些出版物的作者不是专业人士,但评论和笔记的水平令人惊讶,因为他们的艺术知识,特别是小提琴演奏的复杂知识。这种现象只能用记者丰富的听觉经验来解释。在俄罗斯,有一种强烈的音乐生活,当时最著名的演奏家不仅在首都,而且在省级城市的沙龙和舞台上表演。到19世纪初,一个强大的俄罗斯小提琴学校形成了一个原始的(«voo -cal»)声音的解释。与国外的音乐大师相比,中国的音乐代表更注重音质,国外的音乐大师优先考虑技术的完美,有时甚至会损害对音乐性的基本要求。俄罗斯音乐评论界从来没有附和过西方同行的意见;它有自己的评估标准。她大胆地批评了在欧洲得到认可的小提琴演奏家和小丑,并支持了很快获得世界认可的俄罗斯演奏家。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Music journalism of the first half of the 19 th century about the Russian violin school
Since the beginning of the XIX century the Russian press informs its readers about all musical events. Although the authors of the publications were not professionals, the level of reviews and notes amazes with their knowledge of art, especially knowledge of the intricacies of violin playing. This phenomenon can only be explained by the rich auditory experience of journalists. In Russia there was an intense musical life, the most famous virtuosos of that time performed in salons and on stages not only in capitals, but also in provincial cities. By the beginning of the 19th century a strong Russian violin school was formed with an original («vo-cal») interpretation of sound. Its representatives pay much more attention to the quality of sound than foreign virtuosos, who prioritize technical perfec-tion, sometimes to the detriment of even the elementary requirements of musicality. Russian music criticism has never echoed the opinions of Western colleagues; it had its own criteria for evaluating it. She boldly criticized even the violinists-buffooners recognized in Europe and supported the Rus-sian virtuosos, who soon gained worldwide recognition.
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