斯特劳斯
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Fault having no way to forgive to such an extent even cause has committed descendants in old age , his music to Strauss clan.In 1901, Edward · Strauss leads a regiment to visit US after performing coming-back , a band is dissolved abruptly because of being at outs with band,the instrument exists with possessions to have entered a pawnshop, feasible John · Strauss father and son gets through hardship building-up's , the eminent Strauss philharmonic orchestra is lost in a cloud at this point in that time entire Europe reputation. Edward and one kiln boss have signed a agreement in 1907,with husband or lover's 2 grams of price per kilogram, need to sell a batch of "wastepaper" doing fuel for kiln. On October 22, a truck has moved this batch of "wastepapers" almost all kinds of kilogram to a kiln , go ahead has filled in a furnace chamber.
以至于在晚年,他对施特劳斯家族的音乐事业犯下了后人无法饶恕的罪过。1901年,爱德华·施特劳斯率团访美演出归来后,因与乐队不和,突然将乐队解散,把所有乐器存进了当铺,使得约翰·施特劳斯父子历经艰辛建立的,在当时整个欧洲声名显赫的施特劳斯乐团就此烟消云散。1907年,爱德华与一家瓷窑老板签了一个协议,以每公斤2克郎的价格,要卖一批"废纸"给瓷窑作燃料。10月22日,一辆卡车将这批几百公斤的"废纸"拉到了瓷窑,开始填入炉膛。
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But that the philharmonic orchestra performs everywhere , performing at every time declares all obscurely on the playbill "with being commanded " by Mr. Strauss Strauss, is which one Strauss to appear on the scene , three brothers also to only have that moment mounting a platform in at last knowing just now by after all. On a costume ball in February , 1863, the sponsor announces to audience: The dance party will by Mr. Strauss conductor , because of, three Strausses have all come time the midnight.
施特劳斯乐团到处演奏,每次的演出海报上都含糊其词地宣称"将由施特劳斯先生指挥",而到底是由哪一位施特劳斯出场,三兄弟也只有在最后登台的那一刻才知道。1863年2月的一次化装舞会上,主办人向观众宣布:舞会将由施特劳斯先生们指挥,因为,午夜时三位施特劳斯都来了。
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Besides, still have John · Strauss's "legal action process fleetness Bohr gets stuck " and "noble Hungarian , fleetness Bohr get stuck "; Edward · Strauss "express train mail car fleetness Bohr gets stuck " draws giving Prag regards , France Bohr gets stuck "; Joseph · Shite is angry with this ", the artist's giving regards , France sound waltz of Bohr card " and "the Virgin Mary.
此外, 还有约翰·施特劳斯的《爱之歌圆舞曲》、《美酒、女人和歌圆舞曲》、《波斯进行曲》、《诉讼过程快速波尔卡》和《高贵的匈牙利人、快速波尔卡》;爱德华·施特劳斯《特快邮车快速波尔卡》和《向布拉格致意,法兰西波尔卡》;约瑟夫·施特恼斯的《蜻蜓玛祖卡波尔卡》、《艺术家的致意,法兰西波尔卡》和《圣母之声圆舞曲》。
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During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962)and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties
横跨十九、二十世纪的理察·史特劳斯(Richard Strauss,1864-1949)正是欧洲人文发展空前灿烂的年代,无论在哲学思想、文学、美术以及音乐方面,都有辉煌的成就。在他音乐学习历程中,结合了古典时期及浪漫时期两种音乐风格,发展出独特的作曲风格。本论文分成五章:第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨;第二章则从对理查史特劳斯生平的详实记载中,了解他创作作品的时代背景和心情;第三章则就浪漫时期艺术歌曲作家舒伯特(Franz Schubert1797-1828)、舒曼(Robert Schumann1810-1856)、布拉姆斯(Johannes Brahms1833-1897)、沃尔夫(Hugo Wolf1860-1903)及马勒(Gustav Mahler1860-1911)等,以诗人、旋律、伴奏型态及曲式和声,稍加整理并说明,以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整,藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析,则探讨此部作品诗人赫塞(Hermann Hesse 1877 - 1962)及艾辛朵夫(Joseph von Eichendorff﹐1788-1857)的生平和作品特色,以及诗的结构与格式,和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法,创作出一组宁静感人又深刻的终曲。
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The ambience of the city is ornate and frothy: white horses dancing to elegant music; snow dusting the opulent draperies of Empress Maria Theresa's monument; lavish decorations filling the interior courtyards of outwardly severe town houses; a gilded Johann Strauss among a grove of green trees; the voluptuous music of Richard Strauss; the geometric impasto of Klimt's paintings; the stately pavane of a mechanical clock.
维也纳的气氛是华丽和肤浅的:白马随着优雅的音乐翩翩起舞;雪花飘落在玛利亚。特里萨女皇纪念碑上华丽的装饰物上;外表朴素的住宅内,庭院却装饰奢华;在绿树从中有约翰。施特劳斯的镀金雕像;还有理查德。施特劳斯的悦耳音乐,克里木特的油画几何厚涂法和机械大钟奏响的庄严的孔雀舞曲。
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The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Pyotr Ilyich Tchaikovsky, Antonín Dvoák, Gustav Mahler (Music Director, 1909–11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, 1922–30), Wilhelm Furtwngler, Arturo Toscanini (Music Director, 1928–36), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, 1947–49), Dimitri Mitropoulos (Music Director, 1949–58), Klaus Tennstedt, George Szell (Music Advisor, 1969–70), and Erich Leinsdorf.
曾与乐团合作过的史上著名作曲家和指挥包括:西奥多托马斯、柴科夫斯基、德沃夏克、马勒、奥托克伦佩勒、理查施特劳斯、威廉孟高贝格、富尔特文格勒、托斯卡尼尼、斯特拉文斯基、科普兰、布鲁诺瓦尔特、迪米特里米特罗普洛斯、克劳斯腾斯泰德、乔治塞尔、埃里克雷恩斯朵夫。
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The second chapter focuses on the course of events that Strauss starting from Cohen"s interpretation of Spinoza, gradually moving close to Maimonides, and being ready for the religious critique of Spinoza, tries to show Strauss"s progressive understanding of Maimonides in many aspects.
第二部分集中于梳理施特劳斯从柯亨的斯宾诺莎解读开始,慢慢接近迈蒙尼德,并为对斯宾诺莎的宗教批判做好准备的过程,试图展现出施特劳斯对迈蒙尼德的认识的不断加深的发展历程。
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This thesis focused on tone poem "Also Sprach Zarathustra"(op.30) written by Germans composer Richard Strauss in later romantic period. Based on analyzing each basic structural elements within this work, the author summarized phenomenon of structure, discussed structural phenomenon and then achieved a grasp of structural thinking of entire works. By observing historical and cultural background of the era when Richard Strauss was in, Author explored the root of formation of musical structure of this thesis.
本文以浪漫晚期德国作曲家理查·施特劳斯的音诗《查拉图斯特拉如是说》op.30为研究对象,以对作品中各基本结构元素的分析为基础,总结其中的结构现象并探究其结构思维,从而实现对整首作品结构思维的把握,并通过对理查·施特劳斯所处时代历史文化背景的考察,探寻这首作品音乐结构的形成原因。
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Although the bend fame that Joseph · Strauss assumes is inferior to "king Johann · Strauss, of his elder brother waltz" Karajan still is fond of Joseph · Strauss comparatively this composer , he already melts because of Joseph · Strauss with "Beethovenian" music giant writing gimmick to enter the waltz middle having arrived at the Strauss clan.
虽然约瑟夫·施特劳斯作的曲名气不如他的哥哥&圆舞曲之王——约翰·施特劳斯,&但卡拉扬还是比较喜欢约瑟夫·施特劳斯这名作曲家,因为约瑟夫·施特劳斯他已经将音乐巨人&贝多芬&的写作手法融入到了施特劳斯家族的圆舞曲中。
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Think that the agency-- has gossip to say at the meeting Strauss has plagiarized Joseph's manuscript left unpublished by the author at his death in light opera "bat", Edward has agreed with lavishly unexpectedly. Be 50 anniversaries celebrating John · Strauss learning performance in 1894 , somebody is experienced "the first waltz of him" according to his growing up having compiled a one-act play, front day performing Edward places obstacles in the way in the evening, coming jumping out of , does not ought to appear in saying drama his parents, compel getting a sponsor for stopping inviting trouble, before one final minute his parents's drama middle first name has been changed completely. In the testament that John · Strauss stands on in 1895, any does not present a gift to Edward, after Strauss passes away in 1899, Edward neither has the funeral ceremony joining him, at that time, he Germany performs in course of.
当社--会上有流言说,施特劳斯在轻歌剧《蝙蝠》中剽窃了约瑟夫的遗稿,爱德华居然大加赞同。1894年为庆祝约翰·施特劳斯从艺50周年,有人根据他的成长经历编了一个独幕剧《他的第一首圆舞曲》,演出的前一天晚上,爱德华又跳出来作梗,说剧中不应该出现他的父母,逼得主办人为了少惹麻烦,在最后一分钟把剧中他父母的名字全改了。1895年约翰·施特劳斯立的遗嘱中,没有给爱德华任何馈赠,1899年施特劳斯去世后,爱德华也没有参加他的葬礼,那时,他正在德国演出。
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