No.10 法雅《赞歌：德彪西之墓》（Homenaje，Le tombeau de Claude Debussy）
法雅、阿尔贝尼兹、格拉纳多斯是20世纪上半叶西班牙最重要的三大作曲家。该作品创作于1920年8月20日格拉纳达，曲中引用了德彪西《格拉纳达的黄昏》（Soiree dans Grenada，这是德彪西1903年创作的三部钢琴独奏曲Estampes中的第二部）的片段。法雅之所以为吉他创作这首作品，是应吉他家廖贝特的邀请而创作。后来法雅把这首作品改为钢琴曲，再后来改为管弦乐团演奏的曲子，作为四部致敬组曲中的一部。
作品的首演是在1921年1月24日，由鲁特琴家Marie-Louise Casadesus在巴黎用竖琴式鲁特琴演奏。后来，吉他家廖贝特于当年2月13日在西班牙布尔戈斯演出该曲目。1922年12月2日，吉他家埃米利奥·普霍尔在巴黎音乐学院再度演出。贯穿作品的节奏是源自古巴的一种哈巴涅拉舞曲（Habanera），这种节奏德彪西非常喜欢并常常采用。法雅有意地避免使用与吉他相关的音色或其他手段，从而创作了一部适当严肃而又非常迷人的作品。
另一部与法雅《德彪西赞歌》这部作品有关联的是法国作曲家奥阿纳（Maurice Ohana）1957年创作的恬多曲《Tiento》，耶佩斯首演。
收录《赞歌：德彪西之墓》的唱片数：170
推荐录音：
Manuel Barrueco， 1987 EMI CDC 7492282
Franz Halasz， 1995 BIS CD-736
Alvaro Pierri， 1991 Amplitude CLCD-2010
另附我此前收集的介绍：
《德彪西赞》Hommage a Debussy 是法雅唯一的一首为吉他独奏而作的作品。作于1920年，随后由法雅本人改编成管弦乐，重新定名《德彪西赞》，收入他的组曲《赞歌》中。1920年，法国音乐期刊《音乐评论》约请德彪西生前的挚友撰稿，其中也包括法雅。法雅在较短的时间内完成了这首吉他小品。在此之前，法雅也曾经答应为廖贝特创作一首吉他小品，因此本曲实际上也是应廖贝特的要求而作成的吉他作品。乐谱最初发表在《音乐评论》1920年12月1日号刊上。1921年1月24日在巴黎独立音乐协会演奏会上首演，不过不是用吉他，而是用竖琴式鲁特琴上演。
本曲情绪哀伤静寂。一开始就呈示的两小节2/4拍的主要音调集中提示了乐曲的节奏形态和调性。采用三部曲式结构，结尾处借用了德彪西钢琴作品《格拉那达之夜》（选自《版画集》）的音调。全曲简洁雅致，堪称为近现代吉他作品的上乘之作。
老外介绍的欣赏指南：
This attachment to folk song was allied to a pictorial imagination and a feeling for harmonic colour very like Debussy’s – a composer whom Falla revered probably more than any other. “I am interested in the relations between colours and sounds,” he wrote, “and often melodic ideas and harmonic combinations have been suggested by a painting or an old stained-glass window.”
Debussy died in 1918, and Falla wrote this homage the following year, for a magazine that had requested musical homages from several prominent composers. I love it for its perfect understated gravity, and for the way the overall form and the melodic shapes are prefigured in the first phrase. The music’s cells, limbs and body have the same basic shape: a rise, and then a fall back to the origin. Did Falla notice this? I doubt it. That’s the fascinating thing about really fine works. They get much of their power from these hidden affinities, which grow in the composer’s mind unawares. We too feel them, without quite knowing why.
LISTENING POINTS 00.00 A lamenting up-and-down melody between two notes a semitone apart, the upper one constantly pulled down by the gravity (in both senses) of the two bass notes below. So simple, but so full of feeling. 00.07 The first of many chordal flourishes, which always have the tangy flavour of the guitar’s open strings – as if the guitar itself is mourning Debussy’s passing. 00.19 The melody tries to rise but is pulled back to where it began – like the opening phrase itself, but on a larger scale. 00.29 A new melody enters. The two-note lament disappears but its memory lingers in the unchanging bass. 1.01 The music brightens as the harmony shifts up. Notice how this “brightening” is given a softer shading at 1.10, partly by Falla, partly by Julian Bream’s wonderful playing. 1.15 The opening two-note tune returns (with those “flourishes”) but stretched to a whole tone. A tiny distance in musical space, a huge leap in feeling. From here the music burgeons outwards from its origins. 2.26 The genius moment. The opening lament returns, but with a distant harmony underneath, so we only half-recognise it. Only at 2.44 does the original harmony return. 3.30 Just before the end, we hear a momentary quotation from Debussy’s Evening in Granada, slipped in with perfect tact.
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发表于 2014-6-8 18:58:32
