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英国电影学论文代写:柴可夫斯基

文章进行了第一次3月16日1870年。然而,一切并没有像柴可夫斯基曾计划。柴可夫斯基的朋友,尼古拉·鲁宾斯坦的导体。当Rubinstein音乐会平台上展示自己,吵闹,吵闹的演示听众的发生。这发生了由于这一事实,前一天,法院发现对Rubinstein的案件涉及他和女学生。由于发病率,表达他们的意见的案件是更高的人群的利益,而不是传达他们的想法或欣赏音乐作品。当谈到首映,柴可夫斯基说,“音乐会后我们dineda没有人说一个字我整个晚上的序曲。但我渴望对于升值和仁慈。”(Kamien 254)柴可夫斯基可能认为那天晚上早些时候是成功的,但也有许多年之前通过这样一天能来。

柴可夫斯基对罗密欧与朱丽叶的第一次失败导致他做出必要的调整完善音乐的安排。这些调整涉及完全接受Balakirev的批评。采取他的建议考虑进去,柴可夫斯基还必须超越界限的结构化的音乐训练和利用概念用音乐写今天。这个版本包括一个至关重要的改变,添加到歌曲的独特品质。柴可夫斯基选择离开的爱情主题的发展部分歌曲。相反,他拯救了爱的主题与第一主题冲突在下半年的重演。通过这样做,爱情主题是免受暴力的第一个主题博览会,此外,被同样的重演的第一主题。柴可夫斯基的改变,而不是预期的奏鸣曲形式后,造成灾难的高潮发生在重演,而不是变化发生在预期的发展部分。

英国电影学论文代写:柴可夫斯基

The piece was performed for the first time on March 16, 1870. Nevertheless, everything did not go as Tchaikovsky had planned. Tchaikovsky’s friend, Nikolai Rubinstein, was the conductor of the piece. When Rubinstein presented himself on the concert platform, a noisy, rowdy demonstration from the audience took place. This occurred due to the fact that, the previous day, the court had found against Rubinstein in a case involving him and female student. Due to this incidence, expressing their opinions of the court case was higher on the crowd’s interest rather than conveying their thoughts or appreciation of the musical piece. When speaking about the premiere, Tchaikovsky said, “After the concert we dined…No one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness.” (Kamien 254) Tchaikovsky may have thought that the night was to be a success earlier that day, but there were many more years to pass before such a day could come.

Tchaikovsky’s first failure on Romeo and Juliet caused him to make necessary adjustments to perfect the musical arrangement. These adjustments involved completely accepting Balakirev’s critiques. By taking his suggestions into consideration, Tchaikovsky also had to push beyond the boundaries of his structured musical training and utilize concepts like those used in music writing today. This revision included a crucial change that added to the unique qualities of the song. Tchaikovsky chose to leave the love theme out of the development section of the song. Instead, he saved the love theme to conflict with the first theme in the second half of the recapitulation. By doing this, the love theme is protected from the violence of the first theme in the exposition and, additionally, destroyed by the same first theme in the recapitulation. Tchaikovsky’s change, instead of following the expected form of a sonata, caused the climax of the catastrophe to occur in the recapitulation instead of the change occurring in the expected development section. [2]

 

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