Classical Music

第二十一期：What is Melody 概要 这一期讨论的是什么是旋律这个问题。旋律自然是音乐中非常重要的元素，如果根据旋律就是一串在时间轴上的音符的定义，大概音乐是不可能没有旋律的。但是还是会有很多人会说：“这首歌旋律性不是那么强”之类的话。伯恩斯坦说，这是因为旋律有很多类型，它可以是tune（曲调），theme（主题），motive（动机），它可以出现在高声部，内声部，低声部，它可以有复杂的counterpoint使人难以分辨等等，而很多时候人们说的“没有旋律性”可能只是局限于曲调，高声部中。然而在交响乐中，正如他之前提到的，development（发展）才是最重要的元素，因此我们熟悉的tune在交响乐中不太常见，因为它已经“完成”了，很难再发展下去。伯恩斯坦总结道，其实对于旋律性的判断最重要的因素在于我们的耳朵期待的是什么（也就是taste），他举例道自己年轻的时候就没有体会到Bach的Italian Concerto第二乐章中绵绵不绝的melody的美，因为他当时觉得有重复的更具有旋律性，不过随着年岁的增长和对音乐更深刻的理解，他现在更能appreciate那段旋律的美了。之后，他还引申到，和我们自身taste的develop相同，历史上大家认为不具有“旋律性”的作品在现在看来可能也成为很有旋律性的代表了。总体来说这期蛮精彩的，一如既往的举了很多例子，还提到了一个很常见的melody的模式1-2-3，大概就是1是一个idea，2是对1这个idea的稍微有一点变化的重复，然后3起飞，还蛮有趣的哈哈哈～ 喜欢的Quote But don't you ever be scared of counterpoint; counterpoint is not an absence of melody, it's an abundance of melody; it doesn't erase melody, it multiplies it. Well, so far we've discussed a few of the reasons why some people find certain kinds of music unmelodic -- like melodies going against each other, as in counterpoint, or a melody singing away down in the bass, not easily recognized, or buried in the middle of a sandwich, which is hard to find; or a melody constructed out of tiny motives, which is not exactly a tune. But the really important reason -- and I guess this is what I've been coming to all this time -- is the question of what our ears expect -- in other words, what we call taste. And that, in turn, is based on what our ears are used to hearing. In exactly the same way that our tastes change with growing up, and hearing all kinds of different music, so people's tastes change from one period of history to another. The melodies people loved in Beethoven's time would have shocked and startled the people of Bach's time, 100 years earlier, and I'm equally sure that some of today's modern music, which people complain about as ugly and unmelodic, will be perfectly charming every-day stuff to the people of tomorrow. And if you're still wondering what is melody, just listen to this movement and you'll realize that melody is exactly what a great composer wants it to be. 曲目 1. Mendelssohn - Wedding March 2. Cesar Franck - Symphony in D minor 3. Mozart - Haffner Symphony 4. Beethoven - Symphony No.5 5. Tchaikovsky - Symphony No. 6 6. Wagner - Tristan and Isolde Prelude 7. Mozart - G minor Symphony 8. Bach - Italian Concerto 9. Paul Hindemith - Concert Music for String and Brass 10. Brahms - Symphony No.4 https://www.bilibili.com/video/BV1jJ411L71Y #YPC

第二十期：The Sound of a Hall 概要 这一期伯恩斯坦介绍了音乐厅声学，即一个好的音乐厅应该有的声学素质，并用案例来演示。提到的声学特点包括了reverberation混响效果（大概就是余音绕梁的感觉）, intimacy亲近感（观众听到的音乐应该感觉是在身边，使用了Aaron Copland的The Little Horses作为案例）, clearness清晰度（即是否可以听清楚各个乐器的声音，使用了Vivaldi的Concerto for Four Violins作为案例）, blending and texture（即各个乐器的声音混合在一起的声音怎么样，使用了一首非常有趣的Wlaton的Facade Tango作为案例）和dynamic range（即能否在不同的音量下都具有很好的声学效果，使用了Tchaikovsky的Overture 1812作为案例）。 这期节目播出的一年前，纽约爱乐乐团刚搬到林肯中心的Fisher Hall(现更名为David Geffen Hall），首演的声学效果非常不好，而且讽刺的是这个音乐厅是以科学的声学设计闻名😳经过了很多的声学调整之后才好了很多。不过查了一下，在这期播出之后，这个音乐厅还进行了非常非常多次的调整，而且在2019年又公布了一个改进计划(ref1)😳1974年New York Times上刊登的Schonberg的The Curse of Fisher Hall's Acoustics(ref2)可能一直延续至今。 喜欢的Quote A lot of people think that the sound of music in a hall depends only on how it's performed; if the orchestra plays well, the music will sound well -- which is certainly true, up to a certain point. But unless you have a hall that carries the orchestra's sound faithfully and clearly, the orchestra can play like angels, and you'll never know the difference. You must remember that although music is an art, it also has its scientific side. 曲目 1. Berlioz - Overture of The Roman Carnival 2. Copland - The Little Horses 3. Vivaldi - Concerto in D minor for Four Violins 4. Walton - Facade Tango 5. Tchaikovsky - Overture 1812 https://www.bilibili.com/video/BV1uT4y1J772 ref 1. https://nymag.com/intelligencer/2019/12/revealed-the-plans-for-david-geffen-hall-at-lincoln-center.html 2. https://www.nytimes.com/1974/10/13/archives/the-curse-of-fisher-halls-acoustics.html #YPC

第十八期：Happy Birthday, Igor Stravinsky 概要 这一期是给Stravinsky过八十岁生日（想到节目播出的时候Stravinsky还在世感觉有点奇特）～Stravinsky一生风格多变，从Rite of Spring那种原始主义，到新古典主义，再到晚年的无调性音乐。伯恩斯坦还把他和毕加索对比，后者同样一生经历了多变的风格，而且二人成为了很好的朋友。简要介绍之后，伯恩斯坦详细介绍了Stravinsky的Petrushka，非常精彩～ 喜欢的Quotes - And just when they thought they had his number—a thunderer—he switched on them, with the ease of a bullfighter reversing his cape. Whoosh—and Stravinsky had a new style. - And so it is this king Igor that we salute today, the ever-changing, ever-new, ever-young Igor who at the age of eighty, imagine eighty, is still handing out the biggest surprises in the world of music. - Stravinsky himself has said that his music is loved and understood best by children - And then, a few vague plucked notes in the strings, and the ballet is over, leaving us hanging in suspense between one world and the other. Did all this really happen? Was that Petrouchka's ghost up there, or was it the real Petrouchka? Or is the real Petrouchka, after all, only that broken hunk of rags and stuffing, which was made real to us for a few minutes by the magic of Stravinsky's great art? 曲目 1. Stravinsky - Greeting Prelude (Happy Birthday) 2. Stravinsky - Rite of Spring 3. Stravinsky - Dumbarton Oaks 4. Stravinsky - Agon 5. Stravinsky - Petrushka https://www.bilibili.com/video/BV1rT4y137YH #YPC

第十七期：Road to Paris 概要 这一集很好的承接上一集关于Impressionism的主题，介绍了三位作曲家是如何受到Impressionism的影响。三位作曲家分别是美国的George Gershwin，国籍背景复杂但是犹太背景很浓的Ernest Bloch和西班牙的Manuel de Falla～Bernstein通过实例展示了虽然这些作曲家有着非常浓烈的，和个人背景息息相关的个人风格，但无一不受到法国的影响，作品中有很多的Impressionism的元素：诸如whole tone，bitonality，印象派的harmony和orchestration等等。介绍的三首作品都很喜欢，尤其喜欢Bloch的Schelomo！ 喜欢的Quote We have seen that in the first third or so of our century the road to Paris was a heavily traveled one by composers of all nations and races—and not only composers with Spanish or Hebrew or American roots, but many others like Villa-Lobos from Brazil, Chavez from Mexico, Prokofieff and Stravinsky from Russia, Malipiero from Italy, and so on and on. They all went to Paris because its French spirit has been very contagious in our century, and thank goodness it has; because it's greatly enriched our whole musical life. 曲目 1. George Gershwin - An American in Paris 2. Ernest Bloch - Schelomo 3. Manuel de Falla - The Three-Cornered Hat https://www.bilibili.com/video/BV1Ci4y1c7Tr #YPC

第十六期：What is Impressionism 概要 这期介绍的是印象派音乐。开篇伯恩斯坦说，印象派的关键在于suggestion，并给出这个特别形象的比喻：如果贝多芬第五交响曲的theme就如爸爸命令孩子去睡觉的话，印象派就如爸爸通过描述温暖的被窝，甜蜜的梦乡suggest该睡觉了🥱印象派的音乐和印象派的绘画密不可分，于是伯恩斯坦接下来展示了莫奈的印象派画作和现实照片的区别。音乐和绘画相比是更为抽象的，不过音乐内部也有相对的“现实”——即“清晰”的和声和旋律，和相对的“印象”。接下来伯恩斯坦简要地介绍了印象派音乐家通过什么来创造这样的“印象”，包括了whole tone scale，新的和声，bitonality，和遥远地方的联系的等等。整期节目以德彪西的La Mer作为例子，并且包含很详细的对音乐的分析。这期的最后还提了一嘴Ravel，并用他的Daphne and Chloe选段作为结尾。 喜欢的Quote And as you know, the power of suggestion is often much stronger than a straight order. That's because it's deeper, it's more subtle; those hints can creep into a deeper part of your mind than a simple command can. Or music can have a straight-forward clear theme like, let's take this one of Beethoven, which you all know (Fifth Symphony theme) That's clear, direct; that's like your father saying: go to bed! But it can, music can also suggest with fuzzy little wisps of melody the way Debussy does like this (Debussy - Preludes Bk 1: Voiles) which is like hinting at pleasant dreams. It's funny how many of the great men of music seem to go in pairs, like ham and eggs: Bach and Handel, Mozart and Haydn, Mahler and Bruckner—and Debussy and Ravel. 曲目 1. Debussy - La Mer 2. Debussy - Preludes Book 1: Voiles 3. Debussy - Images Set II - Poison d'or 4. Debussy - Preludes Book 2: Puerto del vino 5. Ravel - Daphnis and Chloe https://www.bilibili.com/video/BV1qJ41147oF #YPC

最近生活发生了新变化，又疏于更新了😳今天继续YPC的分享～ 第十五期：Folk Music in the Concert Hall 概要 这一期讲民间音乐的很有意思～首先伯恩斯坦说了Folk Music和语言的关系，他认为各民族语言的特点（尤其是诗歌）都反映在当地的Folk Music中，他列举了很多例子，比如匈牙利语每个单词的重音都在第一个音节，而他们的音乐也有这样的特点；法国的音乐没有强烈的重音，所以他们的音乐听起来比较smooth；西班牙语以辅音的声音为主，他们的音乐听起来就很清脆，富有节奏性等等。另外伯恩斯坦论述了Folk Music给concert music带来的影响，一种是按照民间音乐的特点写作出的“类民间音乐”（举例了Mozart Symphony in E-flat的一个选段），使用了民间音乐节奏和音符的西班牙作曲家Chavez的Sinfonia India，还有采风真的民间音乐的进行新的arrangement的法国作曲家Canteloube的几首歌曲，最后以汇集了上述所有方法写作而成的Charles Ives的Second Symphony作为收尾～Folk Music虽然比起这些交响乐室内乐来说是比较原始的，但这些复杂恢弘的作品无疑是从这些原始、简单的音乐中生发而来～ 喜欢的Quote But most important of all, folk-songs reflect the rhythms and accents and speeds of the way a people talk, a particular people talks: in other words, their language — especially the language of their poetry — sort of grows into musical sounds. And so here is the whole Minuet now, real high-brow concert-music by Mozart, which could never have been written if the simple Austrian folk music hadn't come first. 曲目 1. Mozart - Minuet in Symphony in E-flat 2. Bartok - Music for Strings, and Percussion and Celeste 3. Ravel - Daphnis and Chloe 4. Carlos Chavez - Sinfonia India (rhythm) 5. Canteloube - Chansons d'Auvergne L'antoueno 6. Canteloube - Chansons d'Auvergne Lo fiolaire 7. Canteloube - Chansons d'Auvergne Malurous qu'o uno fenno 8. Charles Ives - Second Symphony https://www.bilibili.com/video/BV1ay4y1z7Wu #YPC

第十三期：Copland's Birthday Party 概要 今天又是一期愉快的“报菜名”节目——Aaron Copland的六十岁生日派对～伯恩斯坦把Copland的音乐形容成花园，花园里有各种各样的花，有很清新坦诚的作品(An Outdoor Overture), 有很教条式的作品(Statement)， 有包含爵士元素的，描绘美国大城市的作品(Music For the Theatre），有描绘美国乡村恬静生活的作品(Music For Movies, "Our Town"），有民间音乐的改编(I Bought Me a Cat, The Boatman's dance)，有西部风格的作品(Billy the Kid）。这种多样的风格正好迎合了第二期What is American Music中提到的多样性～节目中有一个印象深刻的片段是伯恩斯坦拆解Copland的Statement中一个很现代的一个乐句，通过调整他们的音高，配上传统的和声，之前感觉很扎耳的现代音乐立刻回归传统色彩，个人觉得是一个给现代音乐祛魅的很好的demonstration～节目最后Copland亲自上场指挥了自己的El Salon Mexico，老爷子玩得好开心好有感染力～ 喜欢的Quote Today, we're going to have a 60th birthday party for another composer, our own loved and admired Aaron Copland, and this time we're going to meet him in person later in the program. When you do meet him, I think the first thing about him that will strike you is his youthfulness — not only the youthfulness of his face, but also of his smile, of his conducting vigor, of his almost boyish personality, and especially of his spirit. After all, don't forget that this is modern music, music of our time; and we are living in some pretty rocky times. Besides, music changes and grows all through history, like all ideas; and what used to be considered right and normal is very different from what's right and normal these days. 曲目 1. Copland - An Outdoor Overture 2. Copland - Statement 3. Copland - Music For the Theatre, "Dance" 4. Copland - Music For Movies, "Our Town" 5. Copland - Rodeo, Hoe-Down 6. Copland - The Boatman's Dance 7. Copland - I Bought Me a Cat 8. Copland - El Salon Mexico https://www.bilibili.com/video/BV1uU4y187Ds #YPC

第十二期：Overtures and Preludes 概要 这一期也是比较轻松愉快的，讲的是Overtures和Preludes～伯恩斯坦提到小时候他刚接触古典音乐的时候最爱听的就是各种overtures，的确overtures和prelude篇幅较短（其中提到prelude篇幅一般更短，而且和overtures不同的是一般只有一个部分而且速度变化不多），又在很短的时间里有很大的情绪起伏，”麻雀虽小，五脏俱全“，而且形式多种多样，又激动人心。尤其对于小孩子来说，听一个四个乐章的交响曲估计很难有耐性，大概overtures更符合attention span～这期视频以让大家听音乐感受为主，演了Rossini的Overture to "Semiramide"，Beethoven的Third Leonore Overture，Debussy的Prelude to the Afternoon of a Faun和Bernstein自己的Overture to Candide，分别是一首意大利的，一首德国的，一首法国的，一首美国的，同时也是两首歌剧的overture（其中Beethoven的Third Leonore Overture有时作为Fidelio最后一幕的prelude），一首concert program的prelude和一首音乐剧的overture～ 喜欢的Quote I'm sure that part of the excitement about an overture comes from the fact that it is part of the theatre — it combines the wonders of music with the thrill of the theatre. Great artists are that way, they're very hard to satisfy, especially by their own work; and Beethoven was one of the greatest, and therefore one of the hardest to satisfy, and the one who most of all kept changing and improving all the time, all through his life to make his music better. 曲目 1. Rossini - Overture to "Semiramide" 2. Beethoven - Third Leonore Overture 3. Debussy - Prelude to the Afternoon of a Faun 4. Bernstein - Overture to Candide https://www.bilibili.com/video/BV1gK4y1D7Wd #YPC

第十期：Unusual Instruments of the Past, Present, and Future 概要 这一期介绍一些很有意思的乐器～开篇先分析了一首巴西作曲家Villa-Lobos的Little Train,里面包含了一些巴西特色的打击乐，不过主体还是我们常见的交响乐团里的乐器，说明了usual的乐器也可以产生unusual的声音。接着伯恩斯坦说usual是相对的：我们现在认为usual的乐器在古时候并不是usual的乐器。节目里介绍了很多古乐器，包括了Shawm（oboe的祖先），cornetto（trumpet的祖先）, sackbuts（trombone的祖先），巴赫时代的小提琴，长笛和viola da gamba，而且很有意思的是采用了古今乐器轮换演奏的模式，更直观的感受他们声音上的区别。这里伯恩斯坦说到聆听到过去的声音是直观的感受历史的最佳方式非常认同！接着（也是整个讲座中我个人感觉瞬间deep了的地方😂），伯恩斯坦说现在真正新的乐器是electrical ones，比如我们比较熟知的Theremin（特雷门琴），还有Ondes Martenot等等，但是这中间最重要的其实是tape-recorder～录音带来了成千上万种不同的声音（比如Respighi的Pines of Rome中的鸟鸣声被认为是录音第一次在古典音乐中的使用），还有纯粹的电子的声音，并且人们还可以对声音进行各种处理（比如Glenn Gould对于录音的热情钻研和他的作品《声响学配器》）。我们也知道，录音本身也极大的改变了古典音乐本身，因为现场聆听音乐不再是唯一的方式。节目中还演奏了一首Concerto for Tape-Recorder and Orchestra，很有意思～最后伯恩斯坦话锋一转，说起了kazoo😂并演奏了一首卡祖笛的concerto让我们一睹它的风采🤣🤣🤣（特别魔性，看完很想下单一只lol 喜欢的Quote Hearing those instruments makes you feel as if you were really living hundreds of years ago. It gives us such a clear, idea of the difference between olden times and our own times, just by hearing the sounds that were made then and now. That's really the best and most exciting way to know history: not just by studying about dates and battles and who was king of what in which century, but by coming close to the art of history - by looking at the pictures people painted in any certain period of history, or reading the poems they wrote, and hearing the music they heard. Then we can almost put ourselves in their place, and pretend we're living in those long-ago days; then we can really understand history - which is not just a dull subject in school, but an exciting way of knowing about what happened in our world before we were living in it. I remember that when I was a small kid I had no interest in how the world was before I was in it, and I think that's true of most kids. But suddenly there comes a moment - maybe when you're 11 or 14 or 17 when you suddenly realize that there had been a big and interesting world going on for thousands of years before you were in it from the minute you realize this, and begin to want to know what this world was like, from that minute on, you're on your way to becoming a thinking person, a really educated person. 曲目 1. Villa-Lobos: The Little Train 2. De La Torre - Alta 3. Gabrieli: Canzone for Eight Instruments 4. Bach: Brandenburg Concerto No.4 5. Luening-Ussachevsky - Concerto for Tape-Recorder and Orchestra 6. Bucci - Concerto for a Singing Instrument https://www.bilibili.com/video/BV1CT4y177rf #YPC

第八期：Who is Gustav Mahler 概要 这期伯恩斯坦做了一个马勒的导览。这期视频的年份1960年正好是马勒诞辰100周年，而且50年前他开始自己在纽约爱乐乐团的指挥生涯。在那期视频播出的时候，马勒应该还没有今天他在古典音乐届的地位，而且他的地位和伯恩斯坦的极力推广有很大的联系（如有不对欢迎纠正）。从伯恩斯坦的讲解中感觉可能是同为指挥加作曲家，伯恩斯坦对于马勒可能有一种特殊的惺惺相惜的感觉🤔讲座重的关键词是double man（“双面人”）。伯恩斯坦谈论了马勒的各种矛盾：指挥vs作曲家，极致的快乐vs极致的痛苦，成人的复杂vs孩童的天真，西方vs东方，传统vs现代，伯恩斯坦认为这些矛盾正是他独创性的来源。另外伯恩斯坦还提到了他作曲中的两个矛盾，一是他非常喜欢人声，交响乐歌剧化，但是没有写过歌剧；二是传统印象中他的交响乐规模都很大，但其实也有一些很像室内乐的部分，但他没有写过室内乐（看弹幕提到其实在学生时代有写，有可能是视频当时还没有被发现之类）。这期还是蛮精彩的，尤其对我这个迄今还没有连上马勒wifi的人有激发兴趣的作用～ 喜欢的Quote I am very proud to stand here on the same stage, with the same great orchestra, because Mahler was one of the greatest conductors that ever lived. But it means something else too: It is like Mahler's own personal farewell to the old romantic kind of German music, as if he knows it's all over, and now he must begin a new kind of music, which he begins right then and there. And it comes out sounding very original. But at the same time he doesn't want to say goodbye to the old music; he loves all that Wagner and Schubert so much. So he says goodbye sadly, unwillingly, so that at the end of the piece, when the singer says the German word ewig, meaning forever, she sings it again over and over as if not wishing to let go of this beauty. 曲目 1. Mahler - Symphony No.4 2. Mahler - The Song of the Earth 3. Mahler - Symphony No.2 https://www.bilibili.com/video/BV1Ut411P72G #YPC

第七期: What is a Concerto? 概要 音乐中有很多术语很容易让人望而却步，这期伯恩斯坦通过乐团示范集中火力来介绍Concerto这个概念。首先他追溯了一下词源，Concerto这个词在意大利语的本意就是concert的意思，而concert的本意是“togetherness”，在音乐中也就是乐手们一起演奏歌唱的意思。最初，音乐中的术语的使用是比较随意的，不过随着历史的发展，他们的使用越来越严格。伯恩斯坦的总结是，Sonata是任意乐器的独奏曲目，Symphony是整个交响乐团的Sonata，而Concerto是有独奏（可以是一个人，或者一群人）的symphony。接下来，伯恩斯坦用很多曲目带我们回顾了Concerto发展的历史。首先是巴洛克和早期古典主义时期的Concerto Grosso，这个曲式一般有一个大的乐团，加上一个小的soloist乐团，称为concertino。大小乐团轮流交替演奏，从而创造出变化和对比，而且也给了小的soloist乐团展现自己技术的机会。随着音乐的发展，整体趋势是大乐团的规模越来越大，然而soloist group越来越小：从Vivaldi的一首concerto grosso的soloist乐团有12个人，到Bach的勃兰登堡3个人的soloist group，到Mozart的2个人的soloist group，最终演变为我们熟悉的只有1个soloist。不过只有1个soloist的concerto有一种风险，就是可能过分夸大了soloist的炫技部分。到了20世纪，新古典主义的音乐家们再次挖掘出concerto grosso的概念，发明了concerto for orchestra，也就是乐团中每一个部分都可能是soloist，这期最后演奏了Bartok的Concerto Orchestra作为结尾。 喜欢的Quote Whenever people come to the end of anything, they always start asking themselves big questions, like "What are we really here for? What are we trying to accomplish? Are we really accomplishing it?"--questions like that. Well, my big question is: have we been helping you to come closer to good music? Are you beginning to understand a little more about it, and learning not to be scared of it? Most of my young friends that I talk to say yes; that they are feeling closer to music--sort of friendly to it; they have begun to feel that music isn't such a hard, strange business, after all, too grownup or complicated or sissy-ish or whatever. There are some musical words which can't be explained in a second; it takes time to learn about them; and what's more, it takes listening to the actual music they describe before you really know what they mean. 曲目 1. Vivaldi - Concerto in C Major, RV 558 2. Bach - Brandenburg Concerto No.5 3. Mozart - Sinfonia Concertante K364 4. Mendelssohn - Violin Concerto in E minor 5. Bartok - Concerto for Orchestra https://www.bilibili.com/video/BV1fE411R7yn #YPC

第六期：Humor in Music 概要 这一期承接上期海顿的Symphony No.104介绍的是音乐中的幽默。首先伯恩斯坦说到音乐中的幽默是基于音乐本身的，它可以表现关于自己的笑话，或是别的音乐作品的笑话，但是不能表现日常生活中语言类的或其他的笑话（对于其他的笑话，伯恩斯坦认为他们不是musical joke）。伯恩斯坦提到幽默的一个重要特质是“不协调的”(incongruous)，从而创造一种surprise，使人发笑，在音乐中常有的形式是使用错误的音符或节奏，或者把大家耳熟能详的快乐的曲调变得悲伤等等。接下来，伯恩斯坦谈论了不同“等级“的幽默，包括了imitation（比如Rameau模仿母鸡的作品），wit（Haydn的Symphony No.88），satire（不是只是为了逗趣的幽默，而是有自己想表达的东西，举例了Prokofiev的Classical Symphony）等。最后，伯恩斯坦提到了幽默最重要的特质：幽默是以摧毁什么东西为代价的，可以是一个人（比如看到人因为香蕉皮滑倒而发笑），可以是一个词，一个观念，或者是逻辑本身，在音乐中也是一样，错音或者错误的节奏打破了音乐写作的规则（即音乐的逻辑），而像Prokofiev的Classical Symphony那样的作品挑战了传统的音乐。 喜欢的Quote Here we come to the central point of all humor: that all jokes have to be at the expense of something or someone; something has to be hurt or even destroyed to make you laugh — a man's dignity, or an idea, or a word, or logic itself. The only thing that makes it a scherzo is that it is the third movement, it is playful, full of energy, it's — as all scherzos should be — full of good humor. Which only goes to prove that there are all kinds of humor in the world, as well as in music; and that all humor doesn't have to be a joke, or make you laugh. 曲目 1. Walter Piston - The Incredible Flutist 2. Paul White - Mosquito Dance 3. Gershwin - An American in Paris 4. Kodaly - Hary Janos Suite 5. Rameau - Le Poulet 6. Gilbert & Sullivan - Pirates of Penzance 7. Haydn - Symphony No. 88 8. Prokofiev - Classical Symphony 9. Mahler - Symphony No.1 10. Gilbert & Sullivan - Mikado Recitative to "Oh Living I" 11. Richard Strauss - Der Rosenkavlier (Parody of Tristan) 12. Wagner - Tristan and Isolde 13. Mozart - Musical Joke 14. Shostakovich - Polka from "The Golden Age" 15. Aaron Copland - Music for the Theater, Burlesque 16. Dukas - The Sorcerer's Apprentice 17. Brahms - Symphony No.4 in F minor Scherzo https://www.bilibili.com/video/BV17J411Q7wP #YPC