维基百科

前奏曲 (德彪西)

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《前奏曲》（法语：Préludes）是法国作曲家阿希尔-克洛德·德彪西创作的一系列钢琴前奏曲。全部共24首，分成第一册及第二册，每册各12首。与先前其他音乐家所创作的前奏曲（例如巴赫的平均律键盘曲集及肖邦的24首前奏曲）不太一样的是，德彪西并未遵守严谨的格式及调号。

两册前奏曲都各只花了数个月的时间即完成，这个创作速度以德彪西来说算是很快的。第一册写于1909年12月至1910年2月，而第二册则是写于1912年底至1913年4月初。

Pieces

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第一册

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编号 标题、作品音档及内容简介 译注
1
 黛尔菲的舞姬们
Danseuses de Delphes
2
 帆
Voiles 		[注 1]
3
 吹过原野的风
Le vent dans la plaine
4
 声音与馨香在暮霭中回荡著
Les sons et les parfums tournent dans l'air du soir 		[注 2]
5
 阿纳卡普里之丘
Les collines d'Anacapri
6
 雪上足迹
Des pas sur la neige
7
 西风所见之事
Ce qu'a vu le vent d'ouest
8
 棕发少女
La fille aux cheveux de lin
为德彪西前奏曲中最有名的一首。本首的单簧管－弦乐改编版为Windows 7的其中一首范例音乐。
9
 中断的小夜曲
La sérénade interrompue
10
 沉没的大教堂
La cathédrale engloutie 		[注 3]
11
 帕克之舞
La danse de Puck
本曲描绘莎士比亚作品《仲夏夜之梦》当中的一名小精灵帕克。
12
 游吟诗人
Minstrels
  1. ^ 法文中的 "voile" 若作阳性名词解释，则其义为女性服饰的“纱”（le voile）；若作阴性名词解释，则其义为船的“帆”（la voile）。德彪西在原标题中未加上定冠词，现多译为“帆”。
  2. ^ 亦有译为“飘散在暮色中的声音与香味”。由于此曲标题出自诗中（见简介），故选用更加诗意的译法，试图还原原诗的美感。"Tournent" 英译为 "turn"，中文译为“回荡”除了与原文较相近，更增添其诗意。
  3. ^ "Cathédrale"：主教座堂，多译为“大教堂”。


第二册

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编号 标题、作品音档及内容简介 译注
1
 雾
Brouillards
2
 枯叶
Feuilles mortes
3
 ヴィーノの门
La Puerta del Vino
4
 仙子是出色的舞者
Les Fées sont d'exquises danseuses
5
 石楠
Bruyères 		[注 1]
6
 古怪的拉威奴将军
Général Lavine - excentrique
7
 月光下露台的观众
La terrasse des audiences du clair de lune 		[注 2]
8
 水妖
Ondine
9
 皮克威克卿礼赞
Hommage à S. Pickwick Esq. P.P.M.P.C.
10
 カノープ
Canope
11
 三度交替
Les tierces alternées
12
 烟火
Feux d'artifice
  1. ^ 亦有译为“石楠丛生的荒地”、“欧石楠”。“石南丛生的荒地”虽美感十足，但或有超译之嫌疑；而“欧石楠”为石楠的一个种类，但原文之 "bruyères" 之义仅为石楠的统称。
  2. ^ 亦有译为“月色满庭台”、“月光下的谒见阳台”。若将 "audience" 一词作“谒见”解释，可能是为配合 "terrasse"（城堡里举行加冕典礼的大阳台／露台） 之意境。

Two of the titles were set in quotation marks by Debussy because they are, in fact, quotations: «Les sons et les parfums tournent dans l'air du soir» is from Charles Baudelaire's poem Harmonie du soir ("Evening Harmony"). «Les fées sont d'exquises danseuses» is from J. M. Barrie's book Peter Pan in Kensington Gardens, which Debussy's daughter had received as a gift.

Performance practice

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There is no proof that Debussy necessarily intended the preludes to be performed as a cycle, although the musical language throughout each book is so consistent that performers often do so.

An important precedent was set on 3 May 1911 by the pianist Jane Mortier (to whom works were dedicated by Bohuslav Martinů[1] and Erik Satie[2]) who played the entire first book of preludes at the Salle Pleyel in Paris.[3] The German-English pianist Walter Morse Rummel, a student of Leopold Godowsky, gave the premiere of the entire second book of preludes in 1913 in London.[3]

Initially, Debussy and other pianists who gave early performances of the works (including Ricardo Viñes) played them in groups of three or four preludes, which remains a popular approach today. This allows performers to choose preludes with which they have the strongest affinity, or those to which their individual interpretive gifts are most suited.

There is a strong tonal relationship between the preludes that suggests that the published order of the preludes is not arbitrary.[4] For example, the first three preludes in the first book (Danseuses de Delphes, Voiles, and Le Vent dans la Plaine) revolve around the key of B♭.[4] In these first three preludes, allusions to the key of B♭ disappear and reappear, yet a strong sense of fluidity and connection between the preludes is still maintained.

However, the order of the preludes is not considered imperative, as is the case with Chopin's preludes, for example. Several pianists have performed the set out of order, and at least one recording, by Ivan Ilić, changes the order of the set entirely.[5]

The titles

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The titles of the preludes are highly significant, both in terms of their descriptive quality, and in the way they were placed in the written score. The titles are written at the end of each work,[6] allowing the performer to experience each individual sound world with fresh ears, without being influenced by Debussy's titles beforehand.

At least one of the titles is poetically vague: the exact meaning of Voiles, the title of the second prelude of the first book, is impossible to determine for certain, since the noun's gender is unknown (in French, voiles can mean either "veils" or "sails" depending on the gender).[7]

Orchestrations

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Various orchestrations have been made of the various preludes, mostly of La fille aux cheveux de lin and La cathédrale engloutie. Complete orchestrations of all 24 preludes include versions by Peter Breiner, Luc Brewaeys, Hans Henkemans, and Colin Matthews. Sean Osborn has orchestrated the first book.

Sources

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参考文献

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  1. ^ Bohuslav Martinu : catalogue des oeuvres ...::: numéro 101-200 :::. Patachonf.free.fr. [2012-06-05]. 
  2. ^ Embryons desséchés - Wikipedia, the free encyclopedia. En.wikipedia.org. [2012-06-05]. 
  3. ^ 3.0 3.1 Claude Debussy - Biographie : 1910 - 1914 - Centre de documentation Claude Debussy. Debussy.fr. [2012-06-05]. 
  4. ^ 4.0 4.1 Roberts, Paul. IMAGES The Piano Music of Claude Debussy. Portland, OR: AMADEUS PRESS, 1996. Print.
  5. ^ Classical Music :: The Classical Source :: Debussy’s Préludes – Ivan Ilić :: Classical Music. The Classical Source. [2012-06-05]. 
  6. ^ Préludes (Book 1) (Debussy, Claude) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music. Imslp.org. [2012-06-05]. 
  7. ^ Claude Debussy: Voiles. Toddtarantino.com. [2012-06-05]. 

Further reading

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  • Guido, Gatti M., Frederick H. Martens, and Claude Debussy. "The Piano Works of Claude Debussy." The Musical Quarterly 7.3 (1921): 418-60. Print.
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