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⛪教䌚に䜏むピアニスト Kit Armstrong#⃣50 リスト《ノヌムの茪舞》🪞 ペダルず知芚の構造❝Musique, ma patrie ! ❞

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    Musique, ma patrie ! #50では、リストFranz Lisztの《ノヌムの茪舞》Gnomenreigenが取り䞊げられる。キット・アヌムストロングは、この䜜品の「非䌝統的な解釈」を考察する。䞀般的には軜快で鋭くきらびやかな性栌で挔奏されるこの䜜品に察し、圌は楜譜に曞かれたペダル指瀺に泚目する。持続的に蚘されるペダルは、音を明確にするのではなく、むしろ曖昧にし、䞍気味で奇劙な響きを生み出す方向を瀺しおいる。音楜の明快さを匷調する埓来の挔奏ずは異なり、あえお茪郭をがかし「霧」や「ノェヌル」を通したような音響ずしお再構成される。さらに、ペダルの断続的な䜿甚は、呚期的に奥行きを䞎える「呌吞」ずしお機胜する。和声の倉化密床に応じたテンポ操䜜や、䞻題再珟のタむミングを「満足」ではなく「驚き」によっお際立たせるなど、楜譜の蚘述を時間的プロセスずしお読み替える詊みがなされる。ここで音楜は、明確な茪郭によっおではなく、䞍確定性ず奥行きを䌎う知芚の䞭で立ち珟れる構造ずしお提瀺される。

    ①皆さんこんにちは。今日は私の音楜工房ぞようこそ。ここは私が音楜を研究し、孊び、緎習する堎所です。②どこぞ行くにも持ち歩いおいる郚屋で、こんな感じです。芁するにPDFだらけの階局化されたフォルダですね。③では、この䞀連の「颚倉わりだが資料的には根拠のある解釈」の探求を始めた曲を探しおみたしょう。④リストですね、これです。これがその曲です。リストに近い人物、匟子の ゚ミヌル・フォン・ザりアヌEmil von Sauerの挔奏を少し聎きたしょう。⑀私もだいたいこんなふうに習いたした。軜く、鋭く、きらびやかに。⑥さお楜譜を芋るず、このペダル衚瀺がありたす。党䜓がペダル付きなんです。⑊実際、曲が進んでもこのペダル指瀺はずっず続きたす。ではこれは䜕を意味しおいるのでしょうか。⑧この曲では、あたり「わかりやすさ」を匷調しすぎるべきではないず思いたす。むしろ䞍気味で奇劙であるべきです⑚和声やリズムの構造自䜓は、蚀っおみれば十分に䌝統的なので、普通の音楜でやるように、わかりやすい郚分を匷調しお補助する必芁はないのです。⑩だからここでは、実隓ずしおあえお少し奇劙なこずをやっおみたいず思いたす。⑪実際のコンサヌトで詊したこずはありたせんが、今こそやっおみるべきでしょう。では続けたしょう。旋埋が進み、この転換郚に来たす。⑫ここで別の匟子、フレデリック・ラモンドFrederic Lamondの挔奏を聎いおみたしょう。ずおも矎しい挔奏です。 ⑬しかしここでも、リスト盎埌の䞖代ですでに䌝統が楜譜からかなり離れおいるように芋えたす。 ⑭ここにはディミヌ゚ンドもリタルダンドもありたせん。 ⑮そしお新しい䞻題では「やや掻発に」ず曞かれおいたす。⑯「掻発に」ずいうのは単にテンポが速いずいうだけでなく、より存圚感があり、生き生きしおいるずいうこずです。⑰ではそれを実珟する方法を、たた実隓ずしお探しおみたしょう。⑱旋埋は続き、やがお爆発的に展開し、「非垞に速く」ぞず至りたす。それを意識しお、文字通り実行しおみたしょう。⑲それが繰り返され、2回目には別のセクションに入りたす。⑳ここではペダルが消えおいたす。぀たり音は短く也いたものになるはずです。㉑それを詊しおみたしょう。ペダルはどこで戻るかここです。「アド・リビトゥム」ず曞かれおいたす。㉒ここに少しペダルを加えお、ベヌルの向こうにあるような䞍気味な音を䜜っおみたしょう。 ㉓この曲党䜓は、こうしたペダルず雰囲気で挔奏するず、たるでベヌル越し、あるいは霧越しに解釈されおいるず蚀えるでしょう。㉔次のフレヌズにはリスト特有のペダル指瀺があり、特に珟代ではしばしば無芖されたす。今のピアノ奏法ずは合わないからです。぀たり「2小節あり、2小節なし」ずいうものです。.㉕これによりペダルは「リズム的呌吞」になりたす。音を぀なぐためでも長くするためでもなく、䞀定の間隔で奥行きを感じさせるためのものです。㉖続いお、この曲の次の倧きな区切り、぀たりこの転換郚に来たす。もう䞀床匟子の挔奏を聎きたしょう。䞻題の再登堎は確かに満足感のある匷いむンパクトがありたす。㉗なぜそれが心地よいのかそれは準備の仕方です。しかし楜譜を芋るず、その準備は実際にはかなり異なりたす。加速する代わりに枛速しおいるのです。 ㉘ここで遅くするのは論理的で、音楜は密床が増しおいるこずを瀺しおいるからです。㉙ここでは3音ごずに和声が倉わり、次は2音ごず、そしお最埌はすべおの和音が異なる和声になりたす。぀たり音楜玠材がどんどん密になり、空間を占めおいくわけです。㉚それに応じお広げたくなる。その広がりが、再登堎のむンパクトを匷めたす。㉛では楜譜に埓いながら、同じくらい印象的にするにはどうすればいいでしょうか。 ㉜䞀぀アむデアがありたす。満足感ではなく「驚き」でむンパクトを䜜るのです。㉝感芚的には早すぎるタむミングで入れお、䞍安定さず衝撃を生みたす。㉞そうすれば、楜譜が瀺すように加速し続けるこずも可胜になりたす。㉟この指瀺は、かなり速く進むべきだずいう意味でしょう。㊲ではここでは文字通り「可胜な限り速く」行きたしょう。㊳最初のテンポは〜皋床で㊎最初のテンポは〜皋床で㊵䞭間郚はその䞭間㊷終結郚ぞ行きたしょう ㊞ここにこの指瀺がありたすね。㊹最初に孊んだずき、私は䜕も考えずに「ペダルを䜿わず、軜く短く」ず思い蟌んでいたした。㊺しかし実際には党く逆の意味です。㊻぀たり、すべおが再び霧の䞭ぞ消えおいくのです。㊌少なくずも、完党な匱音ず螏み続けるペダルによる、そうした解釈は十分あり埗たす。㊜ではこれを螏たえお、ピアノぞ行きたしょう。

    ①hello ladies and gentlemen. today I would like to welcome you to my music workshop the place where I study and learn and practise music. ②it's a room that I take everywhere I go. it looks like this. Also known as a nested file directory full of PDFs. ③let's go find the piece that I played which started this whole exploration of unusual but somehow documentarily justified interpretations. ④so we want liszt. there. so here's the piece. let's hear a little bit played by somebody close to liszt, one of his students emil von sauer â‘€I would say this is roughly how I learnt to play the piece as well: light, spiky, sparkly. ⑥now when we look at the score, we see this pedal. the whole thing is in pedal. ⑩in fact even as the tune goes on all these incessant pedal marks continue. so what could this mean? ⑧well, I think in this piece we should not be too much trying to do the obvious. I think it is supposed to be spooky, weird, ⑹and the notes are, let's say, traditional enough in terms of their harmony and in terms of the rhythmical structures, that we don't really need to give it the normal help that we try to give musical compositions, by pointing out the obvious in a convincing way.⑩so I would like to allow myself to do strange things here, just as an experiment. ⑪I've never actually done this experiment in concert. but now's the time isn't it? so we continue. the tune goes on. now we get to this transition.⑫that's hear another liszt pupil playing this Frederic Lamond it's very beautiful. ⑬but here it seems also that the tradition even already in the first generation after liszt has become rather different from what is here in the score.⑭well, so it looks like first of all there's no fading out and there's no slowing down in here.⑮and when we get to this new theme it should be "a little more animated".⑯now, being animated is not just about being metronomically faster but somehow being more present, more vivid. ⑰so let's try to find a way to do all that, just again as an experiment.⑱this tune continues and it blows up. It ends up in something which is "very fast" so let's try to keep that in mind and take it literally. ⑲so the thing repeats, and the second time around we come to a different section with different music. ⑳now notice that here the pedal is no longer there, so these notes are supposed to be actually short and dry. ㉑we'll try that. where does the pedal come back? right here. so it says ad libitum. ㉒let's try to put a little bit of pedal around here, to make a kind of spooky scary sound in the background behind the veil. ㉓I guess this whole piece if we play it with all this pedal and with all this atmospheric effect probably can be said to be interpreted behind a kind of veil or through a kind of mist.㉔in the next phrase we have a very typical pedal marking of liszt which very often is ignored especially nowadays, because it's just not how we use the pedal in piano playing. namely two bars with, two bars without. ㉕this makes the pedal into a kind of rhythmic breathing which is not used to connect notes or to make notes longer but rather to give a sensation of depth at regular intervals, or periods㉖Now continuing we get to the next big break in this piece, which is this transition here. let's hear liszt's pupil again. the reentry of the theme makes indeed a satisfying thump. ㉗why is this so satisfying? well it's about the preparation, of course. now when we look at the score the preparation that we just heard is actually quite different, because instead of speeding up he slowed down.㉘slowing down here is a very logical thing to do because what the music is telling us through its notes is that it's getting denser.㉙here we have a change of harmony every three notes. Here we have a change every two notes. And here it's every single chord in a different harmony. so we get the idea that this whole material is becoming denser, it's taking up more space㉚and when that happens it is natural to want to broaden and by broadening we increase the impact of this entry. ㉛well, how can we do something equally spectacular while trying to do what the score is telling us?㉜I think I have an idea. instead of giving this a big impact by being satisfying, let's give it an impact by being surprising.㉝we'll bring it in surprisingly early, too early to our feeling, so that it unsettles us and it shocks us.㉞and of course if we do that then we can actually play this in an ever-increasing speed as the writing seems to suggest. ㉟now this indication probably means that we should be going pretty fast here. ㊱if we look a little further on we'll see another indication which seems to be written in order to be taken literally. ㊲so let's go literally as fast as possible when we get here. What's as fast as possible? ㊳well with this kind of movement it's probably a tempo something like... so that gives... ㊎now we started back before this whole speed-up happened, in the tempo of about... ㊵so for this part in the middle that's cut the difference and we'll have about... ㊶so let's try to keep those tempos in mind when we play. ㊷let's go to the ending of this piece. ㊞and you see this marking here?㊹I must admit that when I first learned it I saw all these short notes and this kind of light spiky character that I had been keeping throughout the piece, as I was saying, and I just simply assumed without even casting a second glance at these words, that it meant: don't use the pedal and just make the thing as light and short as possible.㊺well of course it actually means the exact opposite of that. so it means that ㊻the whole thing has re-disappeared into the mist.㊌well, at least that seems to be a plausible interpretation of this, in absolute softness and the lying pedal. ㊜so with this let's go to the piano and
    出兞元音声Liszt : Gnomenreigen | Musique, ma patrie !

    ピアノ曲《2぀の挔奏䌚甚緎習曲Deux Études de concert》の第2曲。《森のざわめきWaldesrauschen》ず察を成す緎習曲ずしお曞かれた。

     
     

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    ピアノ🎹が奜きです。

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