Comments on Weber’s Andante and Hungarian Rondo,
3. Hungarian Rondo
By Terry B. Ewell
With excerpts from the 1984 television broadcast with the Seattle Youth Symphony Orchestra; Vilem Sokol, conducting. BDP#192.

评论韦伯的行板和匈牙利回旋曲,3. 匈牙利回旋曲 作者 Terry B. Ewell 摘自 1984 年与西雅图青年交响乐团一起播出的电视节目; Vilem Sokol,指挥。 BDP#192。

Carl Maria von Weber

Carl Maria von Weber.


Welcome, this is Terry Ewell.

In order to succeed with this composition, the performer must perform with great enthusiasm, color, and virtuosity. This is not a subtle composition, painted as it were in pastels; rather the colors are bold and adverturesome. The performer needs to express passion, bravado, and even humor.

1.    欢迎,我是泰瑞·尤厄尔。 为了使这首作品取得成功,表演者必须以极大的热情、色彩和精湛的技艺表演。这不是一个微妙的构图,就像粉彩一样;相反,颜色是大胆的和勇於嘗試的。表演者 需要表达激情、虚张声势,甚至幽默。

For instance, the opening Rondo statement should be played with character. Staccato notes should be short, bringing out the wonderful snap that is so characteristic of articulation on the bassoon. Also dwell on the first of the sixteenth notes slightly. Don’t play even sixteenths. Be sure to play the 32nds as late and as quickly as possible. This also underscores the virtuosity of the performance.

2.    例如,开场的迴旋曲的樂句应该以有特色的方式来演奏。断奏的音符应该很短,带出巴松管发音所特有的美妙的啪啪声。还要稍微注意十六个音符的第一个。甚至可 以不需要把十六分音符的符值演奏出來。32分音符要盡可能地短及快速演奏。这也凸显了表演的精湛。

Dynamic indications in the work are few. Weber indicates several forte dynamics and some fortissimo dynamics. However, not a single piano, mp, mf is included in the composition. Definitely you should add some other dynamics. Sections marked cantabile in the Andante and the Rondo should be played at quieter dynamics.

3.      曲子中的音量顯示很少。韦伯指出了几个强音和一些强音音量。但是,没有一个小聲,中弱mp,中強mf 包含在作曲中。当然,您应该添加一些其他音量記號。行板和回旋曲中标有如歌的部分应该以更安静的力度演奏。

I also like to make dynamic contrast between measures 108-109 and measures 112. I perform the first measure at piano or mp. Then the second group of measures forte. This brings out the humor in this portion of the composition.

4.    我还喜欢在第 108-109 小节和第 112 小节之间进行音量对比。我在小聲或 中弱mp 上演奏第一小节。然后是第二组小節中我演奏大聲。这在这部分作品中带出了幽默感。

There should be rubato in the composition to indicate the return of sections of the Rondo form and to add “Gypsy” flair. For instance, I signal the return of the Rondo theme in orchestra by slowing down in measure 21; likewise in measure 172. The lead-in in measures 221-222 provided by Weber serves as a little cadenza. Take time in measures 220 and 221. Then accelerate back to tempo in measure 223. The orchestra should also take time in measure 258 to set up the last return of the Rondo them and measure 277 to make the coda seem all the more brilliant.

5.    乐曲中应该有任意速度rubato 以表示回旋曲形式的部分回归并添加“吉普赛”风格。例如,我通过在第 21 小节放慢速度来表示管弦乐回旋曲主题的回归;在第 172 小节中也是如此。韦伯提供的第 221-222 小节的前奏是一个小小的华彩乐段。在第 220 小节和第 221 小节上停一會兒。然后在第 223 小节中加快速度。管弦乐队还应该在第 258 小节上再停一會兒来设置回旋曲的最后回归,并在第 277 小节時使尾声看起来更加精彩。

There are two places in the composition that I depart from Weber’s markings. In measures 166-167, I view slurs as phrase markings rather than an absence of tonguing. I tongue all of the accented notes to emphasize them better. In measure 173, Weber indicates a trill from Ab2 to B2. I think that this is a misprint. The first trill should be from Ab2 to Bb2, the second trill from G2 to Ab2.

6.    作品中有两个地方与韦伯的标记不同。在第 166-167 小节中,我将连线视为樂句的标记,而不是不用吐音。我把所有的重音都表示出来,以更好地强调它们。在第 173 小节中,韦伯表示从 Ab2 到 B2 的颤音。我认为这是一个印刷错误。第一个颤音应该从 Ab2 到 Bb2,第二个颤音应该从 G2 到 Ab2。

Quick articulation is a requirement for the end of the Rondo. Let me point you to some resources that I have created that will help you develop different tonguing strokes. Website information on double tonguing. I have several videos and practice aids available on in the Bassoon Digital Professor website. There are links at the top of the page for double tonguing and triple tonguing.

7.    音樂清晰度的展現是回旋曲结束部分的一個很重要的必備條件。让我向您指出我创建的一些资源,这些资源将帮助您开发不同的吐音方法。关于双吐的网站信息。 我在巴松管数字教授网站的 上有几个视频和练习辅助工具。页面顶部有双吐和三吐的链接。

Let’s select the link for triple tonguing. I have created a separate video on triple tonguing. On the website is a pdf document with exercises and excerpts. I am not going to present that here again, please review the video on Triple Tonguing, BDP # 191. I will, however, state here that the sound of triple tonguing is not the same of double tonguing imposed over triplets. I strongly advocate that you learn to triple tongue so that you can best present this passage and the other excerpts I discuss in the triple tonguing video.

8.    让我们选择三吐的链接。我制作了一个关于三吐的单独视频。网站上有一个带有练习和片段的 pdf 文档。我不打算再在这里介绍了,请查看有关 Triple Tonguing,BDP #191 的视频。但是,我要在此声明,三连音的三吐声音与对三连音使用的双吐不同。我强烈建议你学习三吐,这样你才能最好地展示这段樂句和我在三吐视频中讨论的其 他片段。

Now let’s discuss the tonguing strokes and slurs I use in the passage. In the first video in the series, General Observations BPD #189, I mentioned several Hungarian gestures that were employed in this movement. Of all of the gestures, the spondee informs my articulations the most. Here is the example of a spondee given by Dr. Kritzer and the next example of repetitions of spondees appearing early in the Rondo. Furthermore, I find spondees in the triple tonguing section of the Rondo and this further influences my articulation. The leaps on strong beats, often octaves, call for upward slurs. Given these slurs I furthermore add some slurs on other strong beats. I prefer to keep the scalar passages all tongued. I think that is sounds more virtuosic that way. However, it is quite reasonable to keep the two slurred and then T T K T pattern going throughout much of the excerpt even through the scales.

9.    现在让我们讨论一下我在樂段中使用的圓滑線。在该系列的第一个视频概論(General Observations BPD #189 )中,我提到了在这个樂章中使用的几个匈牙利風格。在所有風格中,揚揚格spondee 最能影响我的发音。这是 Kritzer 博士给出的一个 揚揚格spondee 的例子,以及下一个重复出现在迴旋曲早期的揚揚格的例子。

10.    此外,我在迴旋曲的三吐部分找到了揚揚格,这进一步影响了我的发音。强节拍的跳跃,通常是八度音阶,需要向上的连音。鉴于这些连线,我还在其他强节拍上添 加了一些连线。我更喜欢在音階式的樂段中保持吐音。我认为这样听起来更有技巧。然而,保持两个连线然后又以 T T K T 模式贯穿大部分片段,甚至贯穿整個片段是非常合理的。

I break with the use of the triple tongue in two sections, both in the lower register. Please see the notes in the blue boxes. I find it easier to single tongue at the ends of these runs. There are times when you will need to use double or triple tongue in the low register such as in the Jolivet Bassoon Concerto, but this is rather uncommon.

11.    我分別在两个部分中講解三吐不同的使用方法,都在较低的音域中。请参阅蓝框中的注释。我发现在这些一連串的音在结束时单吐更容易。有时您需要在低音区使用双吐或三吐,例如在 Jolivet 巴松管协奏曲中,但这并不常见。

When I performed the composition in 1984, I used the Kalmus edition that has triplet sixteenths throughout all of m. 284. The added notes mimicked what was in the viola edition. I now take the rest there as given in the original. With age I don’t have the same lung capacity so I must be less ambitious.

12.    当我在 1984 年演奏这首曲子时,我使用了 Kalmus 版本,它在整个 第284小節中都有三连音十六分音符。 增加的第一個十六分音符模仿了中提琴版的内容。我现在按照原件中第一個就不演奏了。随着年龄的增长,我没有相同的肺活量,所以我必须不那么雄心勃勃。

I am sure that there are some that will be asking me to make the entire performance of the television broadcast available. Indeed, I did this for about half a year around 2007. However, the television station would only give me permission to keep it on the World Wide Web for just a few months. So I am just featuring portions of the performance in these videos.

13.    我相信有些人会要求我提供电视广播的全部表演。事实上,我在 2007 年左右做了大约半年。然而,电视台只允许我在网路上保留几个月。所以,我只是在这些视频中展示了部分表演。

Well, I hope that these three videos have helped you in your study of the Weber Andante and Hungarian Rondo. I am praying for God’s blessing in your life as you study of the bassoon. God bless you! Bye. 

14.    好吧,我希望这三个视频对您学习韦伯行板和匈牙利回旋曲有所帮助。当你学习巴松管时,我正在为你的生活祈求上帝的祝福。上帝祝福你!再见。

版權所有 © 2016-22泰瑞·B·尤厄爾(Terry B. Ewell)。保留所有權利。

Copyright (c) 2016 by Terry B. Ewell. All rights reserved.