新古典主义的音乐格言——析肖斯塔科维奇B大调前奏曲(OP.34 NO.11)

Music Maxim of Neoclassicism——Analyses of shostakovich's B major preludes(op.34 No.11)

肖斯塔科维奇《前奏曲二十四首》(OP.34),不但是他在钢琴创作领域技法完全成熟的重要标志,更是他借鉴前人《前奏曲》创作手法与本民族特有音乐语言成功结合的典范,对后世影响巨大。被称之为"新古典主义的音乐格言"。特别是第十一首《B大调前奏曲》(OP.34 NO.11),虽在其中没有制造出更多的新语言,却获得了新的效果,无论从主题写作、曲式结构到和声、转调方式等,都能感受到作曲家赋予赋格曲这一传统的形式以新的手法和内容,使得古老的前奏曲散发出了新的生命力。

Known as the ＂neoclassicism music maxim＂ and having a great influence on the later generations, Shostakovich＇s ＂24 preludes＂ （op. 34）＂ is not only the important symbol of his fully mature techniques in his piano field, but also a successful model of combination of his predecessors＇＂ preludes＂ for the creation with his ethnic music, especially ＂B major prelude＂ （ op. 34. No. 11 ）. From its theme, or its structure of melody, or its harmony, or its inflexion, we think the composer gives the traditioal fugue new methods and content, which makes old preludes send out a new vitality.