王天时教学实践音乐会
Wang Tianshi teaching practice concert
2019.11.28，19:00
西林音乐厅 | Xilin Concert Hall
曲目|Program
阿希尔-克劳德·德彪西（1862-1918）
《第一号单簧管狂想曲》（1910）
王天时，单簧管
李文琦，钢琴伴奏
Asher Claude Debussy (1862-1918)
《Première rhapsodie》(1910)
Wang Tianshi, clarinet
Li Wenqi, piano accompaniment
——
路易吉·巴斯（1833-1871）
《弄臣幻想曲》
谢玉鑫，单簧管
程凌静，钢琴伴奏
Luigi Bassi (1833-1871)
《RIGOLETTO.》
Xie Yuxin, clarinet
Cheng Lingjing, piano accompaniment
——
米歇尔·曼加尼
《演奏者幻想曲》
吴佳莹，单簧管
胡与同，钢琴伴奏
Michel Mangani
《EXECUTIVE》
Wu Jiaying, clarinet
Hu Yu Tong, piano accompaniment
——
罗伯特.舒曼（1810-1856）
《三首浪漫曲》
黄松佳，长笛
李文琦，钢琴伴奏
Robert Schumann (1810-1856)
《Three romance》
Huang Song Jia, flute
Li Wenqi, piano accompaniment
—— 中场休息 | Intermission ——
伊戈尔·菲德洛维奇·斯特拉文斯基（1882-1971）
《三首无伴奏小品》——为单簧管而作（1919）
王天时，单簧管
Igor Fedorovitch Stravinsky（1882-1971）
《Three pieces》for clarinet（1919）
Wang Tianshi, clarinet
Li Wenqi, piano accompaniment
——
达律斯·米约（1892-1974）
《三重奏》——为单簧管、小提琴与钢琴而作（1957）
Ⅰ.序曲：活泼而快乐
Ⅱ.舞蹈段落：活泼的
Ⅲ.活泼的
Ⅳ. 中板、活泼的
谢玉鑫，单簧管
周 晴，小提琴
程凌静，钢琴伴奏
Darius Milhaud (1892-1974)
《SUITE》 for Clarinet, Violin and Piano (1957)
I. Overture:Vif et gai
II. Divertissement：Anime
III. Jeu：Vif
Ⅳ. Introduction et Final：Modere
Xie Yuxin, clarinet
Zhou Qing, Violin
Cheng Lingjing, piano accompaniment
——
德米特里·肖斯塔科维奇（1906-1975）
《四首华尔兹圆舞曲》——为单簧管、长笛与钢琴而作
Ⅲ.圆舞曲
Ⅳ.小快板
王天时，单簧管
黄松佳，长 笛
叶冰洋，钢琴伴奏
Dmitry Shostakovich (1906-1975)
《Vier Walzer·Four Waltzes》for Clarinet, flute and Piano
III. Waltz
Ⅳ. Allegretto
Wang Tianshi, clarinet
Huang Songjia, flute
Ye Bingyang, piano accompaniment
——
弗朗兹·克拉玛(1759-1831)
《单簧管二重奏》
王天时，第一单簧管
谢玉鑫，第二单簧管
李文琦，钢琴伴奏
Franz Krama (1759-1831)
《Concerto》 for Two Clarinets
Wang Tianshi, clarinet I
Xie Yuxin, clarinet II
Li Wenqi, piano accompaniment
王天时，单簧管演奏家
李文琦，钢琴演奏家
谢玉鑫，单簧管专业，现杭州师范大学音乐学院音乐学专业大三学生。来自湖南醴陵，大二开始接触单簧管。师从王天时老师，并在其悉心指导下，进步飞速，现已能完整吹奏许多著名乐曲，如《弄臣幻想曲》、勃拉姆斯《单簧管奏鸣曲I、II》、韦伯《小协奏曲》《德彪西第一狂想曲》等。且于2019年获得杭州师范大学举办的六艺节器乐大赛一等奖，参加过多次演出，均获得主办单位的认可。
吴佳莹，单簧管专业，来自浙江江山，现杭州师范大学音乐学（师范）大三学生。2017年以浙江省27名成绩进入杭州师范大学音乐学院。大二时主修单簧管专业，师从王天时老师。在学习钢琴和单簧管方面皆有十分出色的天赋，加之自己的乐于求学和老师的倾囊相授，在学习单簧管方面展现了不俗的优异表现。
黄松佳，来自湖南郴州，长笛专业，现杭州师范大学音乐学院音乐学专业大三学生，高中时开始学习长笛。师从王天时老师，在其悉心指导下，慢慢掌握了多种音乐风格的演奏，如古典时期、浪漫时期的风格特征，对乐曲处理上有了更深一层的理解，技术上也有了很大的提升，并逐步完善了演奏过程中的演奏法。
德彪西：《第一号单簧管狂想曲》
Debussy：《Première rhapsodie》
法国作曲家德彪西(Claude Debussy, 1862-1918)的「第一号单簧管狂想曲」可说是很熟悉的一首作品。德彪西善于让音乐产生联想，不论是细微的音色变化，或是营造整体气氛，都在二十世纪产生很大的影响。“第一号单簧管狂想曲”采用单乐章的形式，有着最典型德彪西的风格，充满迷濛的气氛。德彪西在乐谱上标记着“如梦幻般缓慢”的指示，“如梦幻般”应该是怎么样的一种感觉？相信对于诠释的人而言，就有各种不同的想像空间。从一开始，音乐就导向那种如梦境一般朦胧的画面。德彪西将单簧管的主题旋律写得很优美，和声的用法与其他作曲家不同，而且这首狂想曲有许多技巧上的挑战，也有速度很快的滑音，另外值得一提的是，这个曲子的节奏变化复杂，从四分之四拍变成四分之三拍和四分之二拍，如此进行自由的变化，管弦乐则运用到三连音、切分音、断奏，并加入竖琴的琶音，形成非常丰富的色彩。德彪西的印象乐派管弦乐法很纤细，和单簧管时而抒情、时而锋利的音响形成对比，德彪西这首狂想曲不仅很适合比赛，旋律也非常讨喜，进而成为二十世纪单簧管音乐最重要的曲目之一，也是每位单簧管演奏家必定会吹到的名曲。德彪西自己也说过，这首作品是他写过的音乐中，最愉快也最喜欢的作品之一。
French composer Claude Debussy (1862-1918)《Première rhapsodieis》 a very familiar work. Debussy is good at associating music. Whether it's subtle changes in timbre or creating an overall atmosphere, it has a great influence in the 20th century. "Rhapsody of No. 1 clarinet" is in the form of a single movement, with the most typical Debussy style and full of mystical atmosphere. Debussy marks the indication of "dream like slow" on the music score. What kind of feeling should "dream like" be? I believe that there are different imaginations for the interpreter From the beginning, music was directed to the dreamlike, hazy picture. Debussy wrote the theme melody of clarinet beautifully. The use of harmony is different from other composers. Moreover, this Rhapsody has many technical challenges, as well as a fast glide. In addition, it is worth mentioning that the rhythm of this piece is complex, from quarter beat to quarter beat and quarter beat. In this way, the orchestral music can be used freely To triple, syncopation, staccato, and add harp arpeggio, forming a very rich color. Debussy's Impressionist orchestral method is very delicate, which is in contrast with the lyric and sharp sound of clarinet. Debussy's Rhapsody is not only suitable for competition, but also very pleasant in melody. It has become one of the most important pieces of clarinet music in the 20th century, and it is also a famous piece that every clarinet player is bound to play. Debussy himself also said that this work is one of the most enjoyable and favorite works of his music.
巴斯：《弄臣幻想曲》
Bassi ：《RIGOLETTO.》
单簧管《弄臣幻想曲》是一首变奏曲，结构由二部曲式所组成，以变奏的形式为主。在音乐巾，通过层层渐进的方式，通过单簧管悠扬的曲风和演奏者娴熟的技术润色音色，为听众带来耳朵的美好享受和心灵的洗礼。单簧管《弄臣幻想曲》在进入主题之前，首先是借助单簧管进行独奏，营造一个美好的画面感，随着单簧管的推进，故事逐渐拉开帷幕，以将b小凋开始的引子，紧接着以钢琴先进入，单簧管和钢琴的琴瑟和鸣，为《弄臣幻想曲》增进了更多的情感色彩。《弄臣幻想曲》第二变奏的旋律逐渐变得悠扬而缓慢，单簧管节奏的白巾性较强，为人们带来了更多的想象空问。随着音乐的层层递进，故事的情节循序渐进的发展。音乐欣赏的过程同样也是故事发展的过程。随着最后单簧管快速度的华彩，钢琴伴奏结束在F大调之上，将整个乐曲诠释完毕，留给人们更多的遐想和回味。
Clarinet 《RIGOLETTO.》is a variation, which is composed of two parts, mainly in the form of variations. In the music towel, through the gradual way, through the melodious music style of the clarinet and the skillful technology of the performer to touch up the tone, it will bring the audience the beautiful enjoyment of the ear and the baptism of the soul. Before entering the theme, the clarinet《RIGOLETTO.》of the jester first uses the clarinet for solo to create a beautiful sense of picture. With the advancement of the clarinet, the story gradually opens to introduce the beginning of B's withering. Then the piano enters first. The clarinet and the piano's harp and Sonata enhance more emotional color for the《RIGOLETTO.》. The melody of the second variation of 《RIGOLETTO.》 gradually becomes melodious and slow, and the clarinet rhythm has a strong white scarf, which brings people more imaginary questions. With the development of music, the plot of the story develops step by step. The process of music appreciation is also the process of story development. With the rapid development of clarinet, piano accompaniment ended in F major, and the whole music was interpreted, leaving people more reverie and aftertaste.
曼加尼：《演奏者幻想曲》
Mangani：《EXECUTIVE》
Michele Mangani 出生于意大利乌尔比诺，他在意大利Pesaro罗西尼音乐学院先后取得了单簧管、管乐器法、作曲和乐队指挥学位，在博洛尼亚马蒂尼音乐学院取得了合唱音乐与合唱指挥学位。从1985年起 Michele Mangani 开始在指挥方面崭露头角随后逐渐活跃于指挥舞台。曾指挥过包括乌尔比诺 Cappella del SS.Sacramento 交响管乐团、乌尔比诺学院爱乐乐团、佩扎罗交响乐团在内的许多管乐团、弦乐团和管弦乐团。他在指挥上也获得了一些奖项，包括1993年全国学院指挥比赛的第二名和1996年意大利军方举办的全国管乐团指挥比赛的第一名。该曲是他为单簧管而作。
Michele Mangani was born in Urbino, Italy. He has obtained degrees in Clarinet, wind instrument method, composition and orchestra conductor from Pesaro Rossini Conservatory of music, and in choral music and choral conductor from Martini Conservatory of music in Bologna. Since 1985, Michele Mangani began to make a figure in the field of command and then gradually became active in the command stage. He has directed many orchestras, orchestras and orchestras including the cappella del ss.sacramento Symphony Orchestra, the Urbino academy Philharmonic Orchestra and the pezaro Symphony Orchestra. He also won a number of awards in conducting, including the second place in the National Academy conducting competition in 1993 and the first place in the National Orchestra conducting competition held by the Italian military in 1996
舒曼：《三首浪漫曲》
Schumann：《Three romance》
浪漫主义时期作品，该曲作于1839年，原曲作为双簧管与长笛演奏，蕴涵着舒曼为爱情与克拉拉父亲做斗争的强烈矛盾，充满时代性的浪漫色彩。
第一首以Moderato为起速,音乐流畅而连贯，钢琴与双簧管地位平等，都是经过精心安排的，旋律线条并不华丽，却极有意境，和声仍使用了传统的主属功能进行。是一首非常具有浪漫色彩的音乐，双簧管表现出了质朴的欢乐和悲怆。
第二首曲子是一首对比性三段式，由A大调进入，使用4/4拍的节奏。钢琴声部使用了八分等分节奏型、和弦分解织体。双簧管旋律与钢琴声部相融合，也是和声中的和弦音。
第三首曲子是使用对比中部的三部曲式，这一首曲子似乎在结构上更象是上一首曲子的扩大，调性却是同第一首曲子一样，一开始由钢琴声部和双簧管一起呈示a小调旋律主题，同舒曼的《幻想曲》有些相似。随后使用Ⅴ7—Ⅰ的琶音和弦，紧接着又同样重复一遍，旋律同前面相比之下更具有朦胧感。
这三首作品处理得十分的精致，无论是从旋律、调性、和声以及曲式结构来看，都是非常清晰而明朗的。作者不但追求的是作品表面的音色效果，而更注重内在的抒情色彩。这三首作品使用了大量的和声性织体和其优美抒情的歌唱性旋律，用钢琴淡淡的伴奏衬托出双簧管宁静平缓的旋律，其间有小部分情绪高涨。
In the romantic period, this piece was composed in 1839. As a oboe and flute performance, the original piece contains a strong contradiction between Schumann's struggle for love and Clara's father, full of the romantic color of the times.
The first one is based on the Moderato. The music is smooth and coherent. The piano and oboe are equal. They are all carefully arranged. The melody lines are not gorgeous, but they have artistic conception. Harmony still uses the traditional main function. It is a very romantic music. Oboe shows simple joy and sadness.
The second piece is a comparative three-part form, entered from a major, using a 4 / 4 beat rhythm. The piano part is composed of octave rhythm type and chord decomposition texture. The combination of oboe melody and piano part is also the chord in harmony.
The third piece is a comparison of the central trilogy, which seems to be more like the expansion of the previous piece in structure, but the tonality is the same as the first piece. At first, the piano part and oboe together show the theme of a minor melody, which is similar to Schumann's Fantasia. Then we use the arpeggio chord of V 7-i, and repeat it again. The melody is more hazy than before.
These three works are very delicate, no matter from the melody, tonality, harmony and musical structure, they are very clear and clear. The author not only pursues the timbre effect on the surface of the work, but also pays more attention to the inner Lyric color. These three works use a large number of harmonic texture and its beautiful lyrical singing melody, and use the piano's light accompaniment to set off the oboe's quiet and gentle melody, in which a small part of the mood is high.
斯特拉文斯基：《三首无伴奏小品》
Stravinsky：《Three pieces》
三首单簧管小品（1882～1971）伊戈尔 斯特拉文斯基在1919年创作的带有爵士味的三首单簧管小品，不但是作者创作生涯中的第一首无伴奏的器乐作品，也是史上单簧管音乐会曲目中的第一首无伴奏乐曲。1918年瑞士指挥家安塞尔梅 欧内斯特邂逅了在瑞士避难的斯特拉文斯基。随后几个月，斯特拉文斯基欣赏了欧内斯特指挥的爵士乐队的演出，对新音乐的兴趣变得更加浓厚，这体现在1919年创作的三首单簧管小品。
三首单簧管小品创作依赖俄罗斯的民间题材和音乐素材。音乐结构有相对独立性，整部作品接近酒吧歌舞和街头娱乐表演的氛围，并吸收了探戈圆舞曲拉格泰姆和进行曲等通俗音乐的因素。
Three clarinet pieces (1882-1971) three clarinet pieces with jazz flavor created by Igor Stravinsky in 1919 are not only the first instrumental work without accompaniment in the author's creation career, but also the first unaccompanied music in the clarinet concert repertoire in history. In 1918, anselme Ernest, a Swiss conductor, met Stravinsky, who had taken refuge in Switzerland. In the following months, Stravinsky enjoyed the performance of the jazz band directed by Ernest, and became more interested in new music, which was reflected in three clarinet pieces created in 1919.
The creation of three clarinet pieces relies on Russian Folk Themes and music materials. The music structure is relatively independent. The whole work is close to the atmosphere of bar singing and dancing and street entertainment, and absorbs the elements of popular music such as Tango Waltz Ragtime and March.
米约：《三重奏》为单簧管，小提琴与钢琴而作
Miyo：《SUITE》 for Clarinet, Violin and Piano
二十世纪法国新古典主义音乐的代表作曲家达律斯·米约于1936年创作的《钢琴三重奏组曲》Op.157是一部包含钢琴、小提琴、单簧管的室内乐作品。
作品中显露出米约独具一格的创作特色,及通过细腻的配器、精湛的作曲技法,赋予质朴的旋律以色彩斑斓的音响效果,因其丰富的音乐形象与热闹的音乐气氛而闻名。
The piano trio suite op.157, written by Darius Miyo, the representative composer of French neoclassical music in the 20th century, is a chamber music work including piano, Violin and clarinet.
The works show the unique creative features of Miyo, and through delicate accessories and exquisite composing techniques, the simple melody is endowed with colorful sound effect, which is famous for its rich musical image and lively music atmosphere.
肖斯塔科维奇：《四首华尔兹圆舞曲》
Shostakovich：《Vier Walzer·Four Waltzes》
德米特里·德米特里耶维奇·肖斯塔科维奇(1906-1975)生于彼得格勒，他是20世纪最重要的音乐人物之一。他是一位强调音乐创作的思想性而又善于运用音乐手段表达思想的艺术家。他也是一位孜孜不倦的艺术革新家，但他的创作又与传统保持着密切的联系。他的艺术面貌是异常独特的，音乐语言和风格处处表现出自成一家的鲜明特征。 他的旋律常以古调式为基础；尤其是阵音级的各种所谓“肖斯塔科维奇调式”的频繁运用，以及在一个主题内经常的调式突变，形成了一系列具有特殊表现力的乐汇他的旋律富于朗诵性，尤其是器乐的宣叙性独白更是情味深长。 他的和声很有特色，有时写得非常简单朴素（甚至仅限主、属和弦），有时又异常复杂，富于刺激性（如由自然音列全部七音或由全部十二个半音构成的和弦）。他扩展了传统的复调技术，给赋格、帕萨卡里亚等古老复调形式注入了现代内容。他的配器不倾向于色彩性的渲染，而着力于戏剧性的刻画，乐器的音色好像剧中角色，直接参与“剧情”的发展，是表现矛盾冲突的有力手段。他在曲式方面的独创性也很突出。他的交响套曲结构和各乐章之间的功能关系，从不拘泥一格，而是按构思需要灵活变化。这首华尔兹三重奏作品不仅紧扣圆舞曲的风格特点，还分别用长笛和单簧管这两种乐器来描绘两个正在跳舞的人，给听众营造了丰富的想象空间。整个乐曲中这两个声部以各种方式始终交织在一起，这样的音响效果给人一种立体的画面感。而贯穿整个作品的钢琴声部是这首乐曲中最为重要的配器，它不但承担着稳定和声转换调性的重任，还要以饱满清脆又充满力量和热情的音色铺垫节奏，给予全曲最基本的律动。三种乐器和它们各自的声部相辅相成，描绘出一场华丽的舞会。
Dmitry Dmitry jevich Shostakovich (1906-1975), born in Petrograd, is one of the most important musical figures in the 20th century. He is an artist who emphasizes the ideological nature of music creation and is good at using music means to express his thoughts. He is also a tireless art innovator, but his creation is closely related to the tradition. His artistic appearance is very unique, and his music language and style are all distinctive features of his family. His melody is often based on the ancient mode, especially the frequent use of various so-called "Shostakovich modes" at the array level, and the frequent mode mutation within a theme, forming a series of music with special expressive force. His melody is rich in recitation, especially the recitation monologue of instrumental music, which is more emotional. His chords are very distinctive, sometimes they are very simple and simple (even limited to the main and subordinate chords), sometimes they are extremely complex and stimulating (such as the chords composed of all seven natural sounds or all twelve semitones). He expanded the traditional polyphony technology and injected modern content into the old polyphony forms such as Fugue and pasacaglia. His accessories do not tend to color rendering, but focus on dramatic depiction. The timbre of the instrument is like the role in the play, directly participating in the development of the "plot", which is a powerful means to express contradictions and conflicts. His originality in the form is also outstanding. The structure of his symphonic suite and the functional relationship between the movements are not rigid, but flexible according to the needs of the conception. This waltz trio is not only closely related to the style and characteristics of waltz, but also uses flute and clarinet to depict two people who are dancing, creating a rich imagination space for the audience. In the whole music, these two parts are always interwoven in various ways, so the sound effect gives a three-dimensional picture sense. The piano part running through the whole work is the most important accessory in this piece. It not only undertakes the task of stable harmony conversion, but also provides the most basic rhythm of the whole piece with a full, clear, powerful and enthusiastic tone. The three instruments and their respective parts complement each other, depicting a gorgeous dance.
克拉玛：《单簧管二重奏》
Krama：《Concerto》 for Two Clarinets
克拉玛：（1759年11月27日－1831年1月8日），摩拉维亚作曲家，小提琴家。早年学习小提琴，移居维也纳后曾在乐队中任职。1790年移居布达佩斯，1795年回到维也纳，1813年进入奥地利宫廷供职直到去世。克罗默尔的作品很多，风格各异，有部分作品体现了一定的浪漫主义色彩。他的管乐作品目前演奏较多。该曲是他为单簧管而作的单簧管二重奏
Klama: （1759年11月27日－1831年1月8日）, Moravian composer and violinist. He studied violin in his early years and worked in a band after moving to Vienna. He moved to Budapest in 1790, returned to Vienna in 1795, and joined the Austrian court in 1813 until his death. There are many Cromer's works with different styles, and some of them embody certain romanticism. His orchestral works are playing more at present. It's a clarinet duet he made for the clarinet.