介绍肖邦升C小调小夜曲（Nocturne in C-Sharp minor） [复制链接]

肖邦是浪漫音乐时代里著名的钢琴作曲家，而小夜曲（Nocturne）更是他的代表曲牌之一。记得N年前跟小孩前往学钢琴，钢琴老师就说过，Nocturne所描述的是一个晚间的情景，尤其是一人独步沉思的景象。这里所介绍的是肖邦的Nocturne in C-Sharp minor （升C小调）小夜曲，也是我最为熟悉的一首。这可能是因为此曲正是电影“钢琴家（Pianist）”一开始在波兰某一酒吧里所演奏的曲子，与相关情景联系上了。

对于音乐门外汉来说，音乐理论里的大调、小调确实不好分，偶尔听起来似乎还有一点感觉。打一个不太恰切的比方，就像广东音乐里的“正线”与“乙反”那样，“正线”表现欢乐、阳光，而“乙反”表现悲情、隐晦。

这里希望通过引用本地一位高中生最后一年（2007）在艺术欣赏课中所写的对肖邦升C小调小夜曲（Nocturne in C-Sharp minor）音乐评论，来帮助理解这一著名的小夜曲。由此也从另一角度了解美国高中生学习于一斑。由于本人没有音乐理论基础，翻译全凭感觉，希望提供对肖邦小夜曲的理解。请行家对翻译中的错漏给予指正。


以下是由原电影“钢琴家”演奏的Nocturne in C-Sharp minor视频链接：https://www.youtube.com/watch?v=n9oQEa-d5rU

Art Analysis of Nocturne in C-sharp Minor

Frederic Chopin’s 21 nocturnes are considered some of the most enigmatic piano pieces of the Romantic era of music; the soft dynamics and lyrical melodies fuse to produce a beautiful, yet sinister sound.  This quality, seen in Nocturne in C-sharp Minor, helps to create a poignant and mysterious mood for the listener.  His manipulation of the chord tension through major and minor chord progressions help to create an elegiac mood throughout the piece.

By definition, nocturnes are a night piece; Chopin, a master of such compositions, sets the mood by beginning on the first inversion of the tonic the C-sharp minor chord.  The introduction is peaceful and patient shifting from minor chords to a C diminished chord that resolves into the dominant.  Chopin does this to give a preview of the mood of the piece; by listening to the introduction, one would immediately know that this is an elegiac piece.  The harmonic tension created by the diminished chords is quickly resolved into a major chord, as if Chopin is hinting at something, and then retreating as not to “spill the beans.”  At the end of this brief introduction, there is a brief pause which “cleanses the palate,”  aAnd ushers in the first theme.  The melody is viscous and restrained because Chopin uses a single melody note anchored by a legato C-sharp minor arpeggio as the harmony to slowly ration out the emotion that is bottled up in the piece.  The sad emotion of the minor key is well matched with the beauty of the piece created by the delicate and fragile melody and its brittle harmony.  When Chopin pairs the triplets with the duplets and uses trills, he opens up the pace o the song and allows the momentum to be dictated by these nuances.  This rubato and descending and ascending chromatic passages act as the rising action in this elegy.

The development begins when Chopin shifts the key to E major, the relative major of C-sharp minor, which effectively releases the harmonic tension and lifts the melancholic mood of the exposition.  In addition to the color change, the rhythm and momentum levels out to a constant pace as a result of the shift from the long drawn notes to moving eighth notes.  The change of pace helps keep the listener interested as Chopin brings fresh ideas to the table.  Although much of the enigmatic qualities of the slow and minor tone are lost as the piece shifts to a major key, the single melody-single harmony retains much of the original theme’s restraint but is also fluid at the same time.  However, Chopin does not indulge in this and returns to the original minor key to create harmonic tension of chord progressions; the similarities between the major sequence and the minor sequence help to preserve the sense of familiarity in the listener’s ears while still giving him or her a sense of surprise created by the new melodic pattern.  Because Chopin uses a major melody that is repeated in a minor tone, the listener is able to feel assured that Chopin isn’t to rush and run away with the melody, but rather slowly and patiently chip away at it; the minor imitation of the major melody creates a sense of adrenaline in the listener, as if something significant is coming.  This is a nice transition and helps to mask some of the tension created by the diminished trills and chords; again he parallels the minor melodies with the major ones as if he is carving and creating the audience’s tolerance for the inherent harmonic tension of the minor and diminished tones.

The integration of the minor and major harmonic structures helps to link the listener from the first part of the development into new ground; it gives the listener a sense of location in this evolution of the melody.  Following this, Chopin begins to open the floodgates release a rich melody.  He uses the lower register as the bass to create the melody; he creates a unique sound which is in a way like caramel – rich and melting as the notes are amalgamated into chords.  Chopin uses a major tonal quality because although this is an elegiac piece, he does not want it to become a demonic rant and spoil the brittle and enigmatic qualities of the pieces.  Instead, it should be portrayed as a rapture of melodic tones; he is releasing all the pent-up energy and emotion that had been bottled up throughout the beginning of the piece.  This is portrayed as somewhat of a climactic moment – a day against the stillness of the night.  In this section, the volume is forte which helps to dissipate the sinister sensation of the previous section; the major key brings out the brightness in sound of the lower register and in a way brings brightness or optimis m to the audience.  Again, however, Chopin does not dwell on this idea too long, as the chords allow for a rubato to bring the section to a tapering end.  In a sense, the ending fades away like the sun in the western sky.

Frederic Chopin was master of controlling emotion with tonal manipulation as witnessed in Nocturne in C-sharp Minor.  His piece is characterized by its sad and poignant melody that is elegiac.  Interestingly enough, this emotion describes Chopin’s life, as he lives only to be 37 years of and suffered through illness and frailty his entire life; in addition, he lived in a time of social and political unrest in his home country of Poland.  Subsequently, the piece was not published until after his death.

Frederic Chopin’s 21 nocturnes are considered some of the most enigmatic piano pieces of the Romantic era of music; the soft dynamics and lyrical melodies fuse to produce a beautiful, yet sinister sound.  This quality, seen in Nocturne in Csharp Minor, helps to create a poignant and mysterious mood for the listener.  His manipulation of the chord tension through major and minor chord progressions help to create an elegiac mood throughout the piece.

肖邦的21首小夜曲被认为是音乐浪漫时代最神秘的钢琴小品，柔软的激情波动和抒情的旋律融合，产生出美妙优雅，而略带滑稽的声音。这种音质，尤其在升C小调小夜曲里得到很好的表现，给予听众一种凄美而神秘的情绪。他通过对大调和小调和弦跃进的操作，把一个近似悲伤的祭文式情绪融贯于整个小夜曲中。

By definition, nocturnes are a night piece; Chopin, a master of such compositions, sets the mood by beginning on the first inversion of the tonic the C-sharp minor chord.  The introduction is peaceful and patient shifting from minor chords to a C diminished chord that resolves into the dominant.  Chopin does this to give a preview of the mood of the piece; by listening to the introduction, one would immediately know that this is an elegiac piece.  The harmonic tension created by the diminished chords is quickly resolved into a major chord, as if Chopin is hinting at something, and then retreating as not to “spill the beans.”  At the end of this brief introduction, there is a brief pause which “cleanses the palate,” and ushers in the first theme.  The melody is viscous and restrained because Chopin uses a single melody note anchored by a legato C  sharp minor arpeggio as the harmony to slowly ration out the emotion that is bottled up in the piece.  The sad emotion of the minor key is well matched with the beauty of the piece created by the delicate and fragile melody and its brittle harmony.  When Chopin pairs the triplets with the duplets and uses trills, he opens up the pace of the song and allows the momentum to be dictated by these nuances.  This rubato and descending and ascending chromatic passages act as the rising action in this elegy.

小夜曲所表现的是一种晚间的情景。作为小夜曲钢琴曲大师，肖邦 在升C小调小夜曲开始就以强直升C小调的第一倒置和弦设定了表现夜景的情调。小夜曲的引子以平和而耐心的小调和弦开始（两个相同乐句，第二句以减弱的音色重复第一句），进而过渡转移到C减弱和弦，最后转到主导和弦。肖邦以这一情趣的介绍，让听众听到引子后马上体会到这是一曲凄美的小夜曲。由减弱和弦所带来的谐波张力进而马上进入一个大调和弦，肖邦似乎在暗示着什么，然后就 “不留痕迹”地悄然退出。在结束这个简短的引子后，有一个短暂的停顿作为 “净洁口感” ，并以此进入第一个主题。主旋律的展开是适度而克制的，这表现在肖邦把一个锁定在连奏升C小调琶音的单旋律音符作为和谐主调，以连续平滑手法把情感犹如从瓶颈中慢慢地释放出来。此时小调音符的悲情巧妙地配合了小夜曲的凄美，并通过微妙而脆弱的主旋律以及脆化的和谐表现出来。当肖邦把三连音和二连音柔和在一起并使用颤音时，他打开了曲子的步伐并通过这些手法驾驭着小夜曲的势头。散板与降序和升序和弦连奏的配合使用把这一凄美夜曲推上高潮。

The development begins when Chopin shifts the key to E major, the relative major of C-sharp minor, which effectively releases the harmonic tension and lifts the melancholic mood of the exposition.  In addition to the color change, the rhythm and momentum levels out to a constant pace as a result of the shift from the long drawn notes to moving eighth notes.  The change of pace helps keep the listener interested as Chopin brings fresh ideas to the table.  Although much of the enigmatic qualities of the slow and minor tone are lost as the piece shifts to a major key, the single melody-single harmony retains much of the original theme’s restraint but is also fluid at the same time.  However, Chopin does not indulge in this and returns to the original minor key to create harmonic tension of chord progressions; the similarities between the major sequence and the minor sequence help to preserve the sense of familiarity in the listener’s ears while still giving him or her a sense of surprise created by the new melodic pattern.  Because Chopin uses a major melody that is repeated in a minor tone, the listener is able to feel assured that Chopin isn’t to rush and run away with the melody, but rather slowly and patiently chip away at it; the minor imitation of the major melody creates a sense of adrenaline in the listener, as if something significant is coming.  This is a nice transition and helps to mask some of the tension created by the diminished trills and chords; again he parallels the minor melodies with the major ones as if he is carving and creating the audience’s tolerance for the inherent harmonic tension of the minor and diminished tones.

小夜曲的发展阶段，肖邦把主旋律换到E大调（升C小调的相对大调），这一旋律的转变有效地释放了主旋律谐波的张力和提升了展开阶段的忧郁情绪。除了音色的变化，音乐手法从拖长音符变换到八分音符，节奏和行进势头进入到一个恒定的速度。节奏的变化正如肖邦以新的手法所表现的那样，使听众对后面的音乐产生进一步的兴趣。虽然小夜曲那以缓慢并小调气氛所带来的神秘的气质似乎在主旋律变换成大调中丢失了，但单旋律和单和弦主题仍然保留了许多原主题的不缓不急和流畅的行进风格。然而，肖邦并没有沉迷于此，而是返回原来的小调主旋律以突出由和弦进行的谐波张力，在小调和大调之间所引起的相似性给听众保持着熟悉的乐感，同时又给听众提供了由新的旋律所营造的惊喜感。肖邦重复使用了以小调旋律模仿大调旋律的手法，让听众能感受到肖邦并非匆忙略过此旋律，而是慢慢而耐心地通过这一手法手法营造一种气氛，就像血液里激越了的激素，从而预感到好像有更可期待的旋律即将来临。这一美妙的过渡帮助掩盖了一些由减弱颤音和和弦所带来的张力；肖邦以大调和小调平行使用，仿如他在营造和雕塑着听众对由小调和减弱调带来的原有谐波张力色调的宽容度。

The integration of the minor and major harmonic structures helps to link the listener from the first part of the development into new ground; it gives the listener a sense of location in this evolution of the melody.  Following this, Chopin begins to open the floodgates release a rich melody.  He uses the lower register as the bass to create the melody; he creates a unique sound which is in a way like caramel – rich and melting as the notes are amalgamated into chords.  Chopin uses a major tonal quality because although this is an elegiac piece, he does not want it to become a demonic rant and spoil the brittle and enigmatic qualities of the pieces.  Instead, it should be portrayed as a rapture of melodic tones; he is releasing all the pent-up energy and emotion that had been bottled up throughout the beginning of the piece.  This is portrayed as somewhat of a climactic moment , a day against the stillness of the night.  In this section, the volume is forte which helps to dissipate the sinister sensation of the previous section; the major key brings out the brightness in sound of the lower register and in a way brings brightness or optimis m to the audience.  Again, however, Chopin does not dwell on this idea too long, as the chords allow for a rubato to bring the section to a tapering end.  In a sense, the ending fades away like the sun in the western sky.

肖邦以大、小调交替使用的手法，给听众把主题从发展阶段连向新主题，而在此过程中给旋律阶段性提供了定位。在此之后，肖邦犹如打开了闸门，释放出丰富的旋律。他使用了低频音域的低音来创造旋律，并以一个独特的声音就像焦糖一样 - 丰富和熔化到各种和弦中。肖邦使用了大调色调音质，这样的处理手法并不妨碍小夜曲悲情的情景，因为他不希望此曲成为一首恶魔般的咆哮从而破坏脆弱而神秘的素质。相反，小夜曲被描绘成一个狂喜的旋律音调，所有从曲子开始时就被压抑的能量和情感，犹如从瓶颈被释放出来。这一音乐描绘进入了高潮时刻， 犹如白天对着寂静的夜晚。在本节音乐中，乐曲采用了浓重、沉稳的音色，以帮助抵消上一节音乐所遗留的压抑的感情，并在某种程度上以大调旋律给观众带来乐曲的明亮和乐观。但是，肖邦不纠缠于这一旋律太久，并用散板（rubato）带进渐变衰弱的结尾。乐曲的结束犹如西落的太阳，缓缓而终。

Frederic Chopin was master of controlling emotion with tonal manipulation as witnessed in Nocturne in C-sharp Minor.  His piece is characterized by its sad and poignant melody that is elegiac.  Interestingly enough, this emotion describes Chopin’s life, as he lives only to be 37 years of and suffered through illness and frailty his entire life; in addition, he lived in a time of social and political unrest in his home country of Poland.  Subsequently, the piece was not published until after his death.

肖邦被认为是以营造音色控制感情的音乐大师，就像这首升C小调小夜曲。他的作品的特点是挽歌式的悲伤和凄美的旋律。有趣的是，这种悲切感恰好地描绘了肖邦的一生；他37年的暂短一生贫病交加。此外，他所在的年代正是他的祖国波兰社会和政治动荡的时候。正因如此，此曲直到他去世后才被发表。

以下介绍摘自网络资料；

乐曲一开始就把人们带进朦胧的夜色中.低声部微弱宽广的分解和弦给我们展示了这样一幅画面:神秘幽静的夜晚.多愁善感的诗人在孤独地沉思着什么.一切都静悄悄的只听见自己的呼吸声心跳声,接着出现了稍显犹豫的主题这是一个病态的。犹豫的声音.它一开始就向上爬到E.这一短暂的大和弦像流星一样一闪而过,夜又恢复了原来的黑暗这是远在异国他乡的诗人悲凄的沉吟,断断续续,像诉说又像是哭泣。旋律始终呈现一种很连贯流畅的感觉,气息悠长。乐句开始时较平稳,中间舒展,在句尾收拢,语气和语调上都有着微妙的变化。这与咏叹调很相象,将复杂微妙的情感放置在起伏跌宕的旋律中。正是因为旋律中呈现大量优美的装饰音。所以在当时算得上是一种新颖的类型钢琴作品的典范,比古典主义钢琴作品中,紧紧围绕主要音作简短、狭窄装饰音的活动完全不同。

好帖，值得顶！

我最近也常在车上放肖邦的夜曲全集。这是其中最著名的一首，旋律优美，极富戏剧性。只是听得太多了，有点审美疲劳。
建议全集一起听，每一首夜曲都是极有特色的绝品

聆听这些短曲如同读唐人绝句，妙处难言

学老孙说句,我的娘啊,这么长的贴!

hw79:
聆听这些短曲如同读唐人绝句，妙处难言

对我来说,也像唐诗一样难懂,只是随心欣赏,心情好时,越听越美妙,心情不好时,听听下就流泪.

hw79:
我最近也常在车上放肖邦的夜曲全集。这是其中最著名的一首，旋律优美，极富戏剧性。只是听得太多了，有点审美疲劳。
建议全集一起听，每一首夜曲都是极有特色的绝品

我就从不在车上放古典音乐,非常休闲轻松或无聊时才独自呆在家里听,不审美也不疲劳,只是让心灵做个放飞的梦.

支持，新年快乐！