尼可罗·帕格尼尼
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尼可罗·帕格尼尼（-{Niccolò Paganini}-,（1782年10月27日—1840年5月27日）），意大利小提琴家，作曲家。他是历史上最著名的小提琴大师之一，对小提琴演奏技术进行了很多创新。
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[编辑] 生平
尼可羅·帕格尼尼出生於1782.10.27在義大利的熱那亞, 是Antonio and Teresa (née Bocciardo) Paganini的兒子. 根據由 Peter Lichtenthal為她寫的傳記,帕格尼尼在她五歲的時候，他爸爸開始敎他曼陀鈴,在七歲時便開始學習小提琴,更在十歲時就開始作曲了.在十二歲時她第一次公開演出. 帕格尼尼十幾歲的時候跟著許多不同的老師學習,包括了Giovanni Servetto and Alessandro Rolla,但是對於他的成功他沒有辦法妥善的處理;在他十六歲時，他就開始賭博和酗酒.就在著這個時候，一位不知名的女性救了他,他把她帶到他的家去，在那裡他又開始學習小提琴學了三年.在這個時段她也彈奏吉他.
在他23三歲的時候，他又重新出現了,當他不在旅遊時，他成為了PRINCESS LUCCA的宮廷樂隊總監. 他在米蘭 1813, 維也納 1828, 倫敦 and 巴黎 1831首演以後,他高超的小提琴技巧在人們之間廣為流傳. 帕格尼尼是世界上第一個不須別人資助而可以到世界各地巡迴表演的音樂家.他成為一個超級巨星. 並用它那魔鬼般得技巧演奏.
有一個傳說,帕個尼尼將他的靈魂出賣給了魔鬼，換來他那高超的技巧.對於這個傳說帕格尼尼很滿意,甚至有人說這是他自己說的.在他演奏時,他會翻白眼. 他搖晃的站姿, 長而零亂的頭髮 蒼白的臉龐, 憔悴的身軀都讓這個傳說顯的更加真實.他充滿熱情激烈的演出讓觀眾流淚有的人甚至還暈倒.
Paganini's only violin he ever owned is known as the Cannone Guarnerius violin, its name given by Paganini to reflect the "cannon" sound it produced. Its strings are nearly on the same plane, as opposed to most violins, the strings of which are distinctly arched to prevent accidentally bowing extra strings. The stringing of the Cannone may have allowed Paganini to play on three or even four strings at once.
In Paris in 1833, he commissioned a viola concerto from Hector Berlioz, who produced Harold in Italy for him, but Paganini never played it.
His health deteriorated due to cancer of the larynx. The disease caused him to lose the ability to speak, but he played his violin until his final hours. The last night before his death it is said he could be heard improvising wildly on his violin. He died in Nice on 27 May, 1840.
He left behind a series of sonatas, caprices, 6 violin concerti, string quartets, and numerous guitar works.
The orchestral parts of Paganini's works are polite, unadventurous in scoring, and supportive. Critics of Paganini find his concerti long-winded and formulaic: one fast rondo finale could often be switched for another. During his public career, the violin parts of the concertos were kept secret. Paganini would rehearse his orchestra without ever playing the full violin solos. At his death, only two had been published. Paganini's heirs have cannily released his concertos one at a time, each given their second debut, over many years, at well-spaced intervals. There are now six published Paganini violin concerti (although the last two are missing their orchestral parts). His more intimate compositions for guitar and string instruments, particularly the violin, have yet to become part of the standard repertoire.
Paganini developed the genre of concert variations for solo violin, characteristically taking a simple, apparently naïve theme, and alternating lyrical variations with a ruminative, improvisatory character that depended for effect on the warmth of his phrasing, with bravura extravagances that left his audiences gasping.
[编辑] 帕格尼尼的小提琴技巧
The French violinist Ivry Gitlis once said, "Paganini is not a development ... there were all these [violinists before Paganini] and then there was Paganini." Though some of these violinistic techniques employed by Paganini were already present in his time, progress on violin technique was slow up to this point. Arcangelo Corelli (1653-1713) was considered the father of violin technique, transforming the role of the violin from a continuo instrument to a solo instrument. Johann Sebastian Bach (1685-1750), with his Sonatas and Partitas for solo violin (BWV 1001-1006) firmly established the polyphonic capability of the violin. The first exhaustive exploration of violin technique was found in the 24 caprices of Pietro Locatelli (1693-1764), which at the time of writing, proved to be too difficult to play (although they are now quite playable). Most accomplished violinists of the time focused on intonation and bowing techniques (the so-called right-hand techniques for string players), the two issues that are most fundamental and also critical for violinists.
Paganini brought forth new techniques for violinists and composers. The writing of violin music was drastically changed through Paganini. His music often called for a wide range of advanced fingering and bowing techniques that proved sensational to audiences and challenging to colleagues of the period. His concert music often called for a combination of staccato, harmonics, pizzicato (on both hands), and wide musical intervals (as much as a major tenth). Paganini's composition was not considered truly polyphonic: (Eugène Ysaÿe once complained that the piano/orchestral accompaniment to Paganini's music was too "guitar like", lacking any character of polyphonism). Nevertheless, he expanded the timbre and colour of the instrument to levels previously unknown. Paganini was also a virtuoso guitarist, composing over 200 works for the instrument.
Paganini was capable of playing three octaves across four strings in a hand span, a seemingly impossible feat even by today's standards. His flexibility may have been a result of Marfan syndrome or Ehlers-Danlos syndrome. His fingering techniques, such as harmonic double-stops, parallel octaves (and tenths), and left-hand pizzicato, were considered almost impossible in his day but are now routine exercises for aspiring violinists. Such leaps in the evolution of violin techniques are only paralleled by the likes of Josef Joachim, and Eugène Ysaÿe, almost half a century later.
Paganini's 24th Caprice in A minor has been an object of interest for a number of composers. Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, and Witold Lutoslawski, amongst others, wrote well-known variations on this theme.
[编辑] 作品
- 24 caprices, for solo violin
- Op. 1, no. 1 in E major (the arpeggio)
- Op. 1, no. 2 in b minor
- Op. 1, no. 3 in e minor
- Op. 1, no. 4 in c minor
- Op. 1, no. 5 in a minor
- Op. 1, no. 6 in g minor (the trill)
- Op. 1, no. 7 in a minor
- Op. 1, no. 8 in E-flat major
- Op. 1, no. 9 in E major (the hunt)
- Op. 1, no. 10 in g minor
- Op. 1, no. 11 in C major
- Op. 1, no. 12 in A-flat major
- Op. 1, no. 13 in B-flat major
- Op. 1, no. 14 in E-flat major
- Op. 1, no. 15 in e minor
- Op. 1, no. 16 in g minor
- Op. 1, no. 17 in E-flat major
- Op. 1, no. 18 in C major
- Op. 1, no. 19 in E-flat major
- Op. 1, no. 20 in D major
- Op. 1, no. 21 in A major
- Op. 1, no. 22 in F major
- Op. 1, no. 23 in E-flat major
- Op. 1, no. 24 in a minor (tema con varizioni)
- Concerto for violin no. 1, in D major, Op. 6 (1817)
- Concerto for violin no. 2, in B minor, Op. 7 (1826) (La Campanella, 'the little bell')
- Concerto for violin no. 3, in E major (1830)
- Concerto for violin no. 4, in D minor (1830)
- Concerto for violin no. 5, in A minor (1830)
- Concerto for violin no. 6, in E minor (1815?) - last movement completed by unknown hand.
- 12 sonatas, for violin and guitar, Op. 2
- Op. 2, no. 1 in A major
- Op. 2, no. 2 in C major
- Op. 2, no. 3 in d minor
- Op. 2, no. 4 in A major
- Op. 2, no. 5 in D major
- Op. 2, no. 6 in a minor
- Op. 3, no. 1 in A major
- Op. 3, no. 2 in G major
- Op. 3, no. 3 in D major
- Op. 3, no. 4 in a minor
- Op. 3, no. 5 in A major
- Op. 3, no. 6 in e minor
- 18 Centone di Sonate, for violin and guitar
- Arranged works
- Introduction, theme and variations from Paisiello's 'La bella molinara' (Nel cor più non mi sento)
- Introduction and variations on a theme from Rossini's 'Cenerentola' (non più mesta)
- Introduction and variations on a theme from Rossini's 'Moses' (Dal tuo stellato soglio)
- Introduction and variations on a theme from Rossini's 'Tancredi' (Di tanti palpiti)
- Maestoso sonata sentimentale (variations on the Austrian National Anthem)
- Variations on God Save the King
- Miscellaneous works
- I Palpiti
- Perpetuela (Sonata Movimento Perpetuo)
- La Primavera
- Sonata con variazioni (Sonata Militaire)
- Napoleon Sonata
- Variations, Le Streghe
- Cantabile in D major
- Moto Perpetuo in C major
- Romanz in a minor
- Tarantella in a minor
- Grand sonata for violin and guitar, in A major
- Sonata for Viola in c minor
- Sonata in C for solo violin
[编辑] 帕格尼尼启发的音乐作品
- Frederic Chopin - Souvenir de Paganini for solo piano (1829, posthumous)
- Franz Liszt - six Grandes Études de Paganini for solo piano (1851)
- Robert Schumann - Studies after Caprices by Paganini, Op.3 (1832; piano); 6 Concert Studies on Caprices by Paganini, Op.10 (1833, piano)
- Johannes Brahms - Paganini Variations (1862-63), two books of pieces for solo piano
- Sergei Rachmaninoff - Rhapsody on a Theme of Paganini (1934), a set of twenty four variations for piano and orchestra
- Witold Lutosławski - Paganini Variations (1941), originally for two pianos, later arranged in a version for piano and orchestra
- George Rochberg - Caprice Variations (1970), fifty new variations for solo violin.
- Andrew Lloyd Webber - Variations for cello and orchestra, originally written for cello and rock band
- Nathan Milstein - Paganinia a new arrangement for caprice Nr. 24, with variations based on the other caprices.
- Philip Wilby - Paganini Variations
- Boris Blacher - 'Variations on a Theme of Paganini
Variations on a theme of Paganini (for harp solo) by Mikhail Mchedelov
[编辑] 轶事
- In 1989 German actor Klaus Kinski portrayed Paganini in the film Kinski Paganini
[编辑] 參見
- Category:Compositions by Niccolò Paganini
- Guarneri
- Paganini Quartet
- Leopold Auer, Violin playing as I teach it, Stokes, 1921 (reprint Dover, 1980).
- Alberto Bachmann, An Encyclopedia of the violin, Da Capo, 1925.
- Yehudi Menuhin and William Primrose, Violin and viola, MacDonald and Jane's, 1976.
- Yehudi Menuhin and Curtis W. Davis, The Music of man, Methuen, 1979.
- John Sugden, Paganini, Omnibus Press, 1980.
- Bruno Monsaingeon,The Art of violin, NVC Arts (on film), 2001.
