Goldberg Variations for keyboard BWV 988 Variation 13 a 2-Glenn Gould
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Goldberg Variations for keyboard BWV 988 Variation 13 a 2-Glenn Gould 歌曲简介
带领我们进入到一个异常崇高的世界,我感觉整部作品的情感在这里悄然发生了转变。如果此前的大部分变奏还完全来自于物质世界,那十三变奏则第一次让我们离开那里。她纤弱而节制的旋律,仿佛来自于一首协奏曲的慢乐章(但不要太慢!),运用某些小提琴的声学轮廓特征以及两个叹息般的单音,从伴奏音型里升向高空。临近结束时左手的几个半音阶再次增强了极乐净土的庄严与神秘感。思绪已然在钢琴的某处停留,手指却在别处敲击键盘——十四变奏以尖锐、快活的嘲讽作为开端,巴赫将我们从梦中唤醒。在大范围的下行乐句里,讽刺像是唯一的特征(反复后转变为上升)。我们常被告知在巴洛克音乐里装饰音是以强音拍演奏的,但这里巴赫却将它们全数写在强音拍之前。So much for the rule! 在经历了一段情绪宣泄后,十五变奏以第五卡农的形式展示给我们全曲的首个小调变奏。对比的情感体验非常适宜,她下行的乐句依旧沉浸在十三变奏的叹息声中,格外伤感;但相应的上行旋律却带给人希望。巴赫不允许自己的音乐里出现全盘的绝望,这缘于他坚定而深沉的宗教信仰,十五变奏对于巴赫的这种音乐表达是极具说服力的明证。她的节奏趋于行板,2/4拍,音乐在悲伤中流淌。低音声部充满引人注目的戏剧性,并摹仿上面声部的叹息和广阔音程。在乐曲那令人难忘的结尾,两手彼此分开,右手静止在距键盘五度的半空——乐音逐渐褪去,我们被孤独地遗留在深深的敬畏之中,同时准备面对更多——这也是《哥德堡变奏曲》前半部的结束。
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