Introduction The Six Suites for solo cello by Johann Sebastian Bach are the deepest and most difficult pieces that has been written for this instrument. We keep asking ourselves what could have been the motivation for Bach to write this great music. He was not bound by his job to write those pieces. As far we know nobody commissioned him to create this cycle. One of the possible reasons is that in July 1720, when Bach returned to Cöthen after accompanying his prince on a long journey, he found that his beloved Maria Barbara, mother of 7 children, was dead and buried. This may have caused a huge crisis in his life that was reflected in the creation of the twelve works for violin and cello solo. In this intimate diary Bach expresses himself about life and death. About Creator and humanity. About his life with the extraordinary woman who has been Maria Barbara. These cello suites are works full of mystery. The pleasure and pain of existence are interspersed with Bach's mysticism and devotion. When the young Pablo Casals, later the king of cello, entered a second-hand store and uncovered the printed score of Bach's unaccompanied cello suites in the late 1890s in Barcelona, he probably didn't know that they were going to be the holy piece of every modern cellist. By that time, the whole work was treated as mere exercises in a narrow circle of musicians. The allemande, gigue, sarabande and other dance forms that formulate each suite had existed for more than 180 years before this destined encounter, waiting there for someone to make them alive and known to the world. Anecdote said that Casals practised for the piece for 13 years before making the first public performance. More than 30 years later, between 1936 and 1939, he finally agreed to record the full suites for the first time and soon the recording became a phenomenal success. The unique tempo, inward-looking determination and unparalleled strength in the sound of Casals spoke to the true talent of Bach. Like Beethoven said 'Not Bach, but Meer should be his name', modern cellists try to interpret and explore the endless possibilities of Bach's music. Sergi Boadella, Spanish cellist, has been passionate for Bach's music since his childhood. After many years of interpreting these pieces separately he decided to string them together to climb one of the highest peaks of art. During the two consecutive days of April 10th and 11th, Sergi will bring us the opportunity to treat our ears and souls with this Bach’s cello piece that at the very height of human creation. At the same time, there is more to expect. we will explore the hidden mathematical messages imbedded in Bach’s music. B+A+C+H = 2+1+3+8 =14 We can find this number all over the compositions of Johann Sebastian Bach. The first prelude and fugue to Book I of the Well-Tempered Clavier: Remember BACH=14 !!! 14 pieces. There are 549 notes in the first prelude and 734 in the first fugue and the sum of both is 1283. So what? Well, 1=A; 2=B; 8=H; 3=C How many notes in the fugal theme: 14 = BACH Gottfried Wilhelm Leibniz was a German philosopher and mathematician born 19 years before Bach. He had a very interesting correspondence with a catholic priest, Joachim Bouvet, who was living in Beijing during the time of the Kangxi emperor. Bouvet reported to Leibniz about the Yi Jing, the Yin and Yang and the hexagram system. Based on that Leibniz developed the Binary Numeral System. The root of our modern computer systems. There are a lot of coincidences between the concept of Yin & Yang and the understanding of the life duality in Bach’s spirituality. This may not be just casual. Let us take a look at those tremendous theories of the work of Bach. Let us go into it with Sergi Boadella and Jochen Settili, who examined the cello solo suites of Bach. A lot of significant relationships will open up our minds and ears. This treasure of the humanity need to be shared. Sergi will play the whole cycle of Six Suites on two evenings (1,2,4 and 3,5,6). This is a special experience of intellect and feelings… but: "People who believe in the significance of such numeric relationships in music are victims of a fundamental error: that written notes and music are identical. But music obeys a simple formula: What we do not hear is not music" (Klaus Eidam's biography of Bach, p.340). Bach’s music doesn’t need to be comprehended with our mind, we just need to listen with our ears and feel with our hearts. There is a Bach for each of us if we can just empty ourselves and let us fill by his music. We are going to undertake a fascinating and complete journey through these six diamonds of the music in two days. Enjoy the ride! 音乐会介绍 约翰·塞巴斯蒂安·巴赫创作的六部大提琴独奏组曲是为这种乐器谱写的最深奥难解的作品。 我们一直在问自己,巴赫创作这首伟大音乐的动机是什么?他并不是因工作需要被要求谱写这些乐章的。据我们所知,并没有人委托他创作这组曲目。其中一个可能的原因是,1720年7月,在陪同他的亲王长途旅行之后,巴赫回到了Cöthen,他发现自己心爱的玛丽亚·芭芭拉,他七个孩子的母亲,已经去世并下葬了。这可能在他的生活中引起了一场巨大的危机,并反映在其创作的12部小提琴和大提琴独奏作品中。在他的日记中,巴赫表达了自己对生死、神与人的看法,以及关于他和玛丽亚·芭芭拉这位非凡女性的生活。这些组曲神秘莫测。存在的欢乐与痛苦充满了巴赫的神秘主义和对生命的奉献之中。 19世纪90年代晚期的巴塞罗那,当年轻的巴勃罗·卡萨尔斯——后来的大提琴之王,在一家二手商店里发现了一份巴赫的无伴奏大提琴组曲的印刷乐谱时,他可能不知道它们将被每一位现代大提琴家奉为圣物。在当时,整部作品只不过被当作是音乐家小圈子里的练习曲。阿勒曼德舞曲、吉格舞曲、萨拉班德舞曲和构成每一部组曲的其他舞曲形式在这场注定的相遇之前已经存在了180多年,等待着有人为它们注入生命并为世界所知。有传闻说,卡萨尔斯将这部作品练习了13年才首次将它们公开演出。30多年后,在1936年到1939年之间,他终于同意首次录制整部组曲,很快这段录音就取得了惊人的成功。卡萨尔斯的演奏中那独特的节奏、内在的决心和无与伦比的力量,充分体现了巴赫真正的才华。正如贝多芬所说,“他不是小溪(德语:Bach),是大海(德语:Meer)”,现代大提琴家在试图诠释和探索巴赫音乐的无限可能。 西班牙大提琴家塞尔吉·博阿德拉从小就对巴赫的音乐充满热情。在分别对这些作品进行了多年的诠释后,他决定攀登这座艺术的最高峰,将它们完整呈现。4月10日和11日连续两天,塞尔吉就将为我们带来聆听巴赫这部登峰造极的大提琴作品的机会。 与此同时,还有更多要期待:让我们一起探索蕴含在巴赫音乐中的数学语言。 B+A+C+H = 2+1+3+8 =14 我们可以在约翰·塞巴斯蒂安·巴赫的作品里到处都找到这个数字。 《十二平均律钢琴曲集》第一部中的第一首前奏曲和赋格曲:请记住BACH=14!!14部作品。 第一首前奏曲有549个音符,第一首赋格曲有734个音符,二者之和为1283。那又怎么样?请看:1=A;2=B;8=H;3=C 赋格主题中有多少音符:14= BACH 戈特弗里德·威廉·莱布尼茨是德国哲学家和数学家,比巴赫早19年出生。他与一位旅居中国的天主教传教士,于康熙年间住在北京的约阿希姆·布韦有一封非常有趣的信件。布韦告诉了莱布尼兹关于易经、阴阳和六十四卦的系统。在此基础上,莱布尼兹发展出二进制数字系统,它是现代计算机系统的根源。 在阴阳观和巴赫对生命二元性的精神理解上,存在着许多巧合,这可能不只是偶然。 无论怎样,这些音乐都像一颗华丽的钻石,不论你从哪一面看它都是完满的。 让我们来看看关于巴赫作品中的这些伟大理论吧。让我们与研究了巴赫大提琴独奏组曲的塞尔吉·博阿德拉(Sergi Boadella)和约亨·塞提利(Jochen Settili)一起深入探索。很多重要的联系会激发我们的感官、开拓我们的思维。这一人性的瑰宝需要被分享。塞尔吉将在两个晚上演奏整套组曲(1、2、4和3、5、6)。 这将是一场有关智慧和情感体验的特别经历……但是:“那些相信这种数字关系在音乐中的重要性的人,可能会犯一个根本性错误:即将纸上的音符与音乐本身画等号。但音乐遵循一个简单的法则:凡是不能听到的都不是音乐”(《巴赫传》,克劳斯·艾达姆,第340页)。 巴赫的音乐无需我们用头脑去理解, 只要我们敞开心扉,用耳聆听。每个人心中都有一个巴赫,只要我们能够放空自己并让他的音乐将我们充满。 我们将通过沉浸于这六颗音乐中的钻石从而进行一次令人陶醉的完满旅程。 让我们一起尽情享受和讨论吧! 祝旅途愉快! | |||
PROGRAM | |
CONCERT I SUITE One in G Major Prelude Allemande Courante Sarabande Menuet I & II Gigue SUITE Two in D Minor Prelude Allemande Courante Sarabande Menuet I & II Gigue — Intermission — SUITE Four in E flat Major Prelude Allemande Courante Sarabande Bourrée I & II Gigue | CONCERT II SUITE Three in C Major Prelude Allemande Courante Sarabande Bourrée I & II Gigue SUITE Five in C minor Overture - Fugue Allemande Courante Sarabande Gavotte I & II Gigue — Intermission — SUITE Six in D Major Prelude Allemande Courante Sarabande Gavotte I & II Gigue |
节目单 | |
音乐会第一部分 G大调第一组曲 前奏曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 小步舞曲I&II 吉格舞曲 D小调第二组曲 前奏曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 小步舞曲I&II 吉格舞曲 —幕间休息— 降E大调第四组曲 前奏曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 布雷舞曲I&II 吉格舞曲 | 音乐会第二部分 C大调第三组曲 前奏曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 布雷舞曲I&II 吉格舞曲 C小调第五组曲 前奏曲-赋格曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 加沃特舞曲I&II 吉格舞曲 —幕间休息— D大调第六组曲 前奏曲 阿勒曼德舞曲 库朗舞曲 萨拉班德舞曲 加沃特舞曲I&II 吉格舞曲 |
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