Valses nobles et sentimentales, M. 61: No. 3, Modéré - No. 4, Assez animé & No. 5, Presque lent-Philharmonica Slavonica/Henry Adolph

歌手 : Philharmonica Slavonica / Henry Adolph
专辑 : Classical Selection, Maurice Ravel: Rhapsodie espagnole
语种 : 英语
时长 : 04:20
第3首，此圆舞曲以切分法而出名，重音移到了小节的第二拍上，这在圆舞曲的节拍中，是一个难以保持的细节。双簧管奏出主旋律，一个“音乐盒”式的乐句以它纤细的声音让人想到了塞克拉克（Severac）和利亚多夫（Lyadov）的音乐。速度为“适中”，力度为“轻柔”。在第十六小节前后，弦乐器奏出更加丰富的和弦，引起了出乎意料的转调。加以六度和弦是对这首圆舞曲的和声特点，这支曲子是这一组圆舞曲中最小巧精致的曲作，尽管从时间上看它还偏长。第三首圆舞曲显然与后面的圆舞曲关系密切，因为尾声似乎停滞不前，直到拉威尔准备好进入第四首圆舞曲，即一个维也纳风格的乐章。第4首，此圆舞曲在某种程度上继续采用前面确立的那种重音与音型法，只是方式更活泼、热烈。这个静静重复的尾声是由弦乐器与竖琴演奏的，并引进了交替出现的三度与四度，作为下一首圆舞曲的开始。正像人们可能期望的那样，第四首圆舞曲终于在长笛的支持下开始了。这个乐章很难描述。它的主题散发着弗朗茨·约瑟夫时代的浓重气息，追求较高的音，较粗犷的活力，具有特别持续不定的特点，由其徐徐上扬的低音四分音符推动前进。当然它从未达到后来的交响诗的高潮；但如同在该作品中的其他几首圆舞曲一样，我们能感到交响诗的某些预示。这首乐曲基本上是一首木管圆舞曲，长笛的主题在单簧管上继续演奏。弦乐器的作用更是提供强度和推动力，每小节最后一拍的三连音和弦有助于加强这个作用，使后面紧跟的所有乐曲快速行进。第5首，此圆舞曲几乎就是一个缓慢的间奏，其令人感兴趣之处是它的和声延留，而不是它所具有的真正舞曲的性质。双簧管、英国管这次共同吹奏着很难算得上是旋律的音乐材料。这是圆舞曲中最短的一首，完全没有前一首圆舞曲的那种活力，但它确实隐含下一首圆舞曲毒而诱人或勾起情欲的暗示，不管人们想怎样称呼它。易变也许是用来描述这两个分段最好的词语，它们表面不相似，但却包含着一个共同的易变因素。

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Classical Selection, Maurice Ravel: Rhapsodie espagnole

Classical Selection, Maurice Ravel: Rhapsodie espagnole专辑下载

（2015-07-30）
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Rhapsodie espagnole in A Minor, M. 54: II. Malaguena. Assez vif
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Valses nobles et sentimentales, M. 61: No. 2, Assez lent
Valses nobles et sentimentales, M. 61: No. 6, Assez vif & No. 7, Moins vif
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