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ショパンのピアノ協奏曲の「室内楽版」 : よみがえる一九世紀の演奏習慣
https://suac.repo.nii.ac.jp/records/596
https://suac.repo.nii.ac.jp/records/596ad0400ea-a263-4ddf-907d-f426f76551f9
名前 / ファイル | ライセンス | アクション |
---|---|---|
P143-P152 (262.3 kB)
|
Item type | 紀要論文(ELS) / Departmental Bulletin Paper(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2013-07-26 | |||||
タイトル | ||||||
タイトル | ショパンのピアノ協奏曲の「室内楽版」 : よみがえる一九世紀の演奏習慣 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Chopin's piano concerto with a piano sextet: A recovered performing practice | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
ページ属性 | ||||||
内容記述タイプ | Other | |||||
内容記述 | P(論文) | |||||
記事種別(日) | ||||||
報告 | ||||||
記事種別(英) | ||||||
en | ||||||
Report | ||||||
論文名よみ | ||||||
その他のタイトル | ショパン ノ ピアノ キョウソウキョク ノ シツナイガクバン : ヨミガエル 19セイキ ノ エンソウ シュウカン | |||||
著者名(日) |
小岩, 信治
× 小岩, 信治 |
|||||
著者名よみ |
コイワ, シンジ
× コイワ, シンジ |
|||||
著者名(英) |
Koiwa, Shinji
× Koiwa, Shinji |
|||||
著者所属(日) | ||||||
文化政策学部芸術文化学科 | ||||||
著者所属(英) | ||||||
en | ||||||
Department of Art Management Faculty of Cultural Policy and Management | ||||||
抄録(日) | ||||||
内容記述タイプ | Other | |||||
内容記述 | ショパンがピアノ協奏曲を書いた十九世紀序盤に、このジャンルの音楽は今日とは異なるやりかたで出版されていた。フル・オーケストラで演奏するための、全パート譜の揃ったセットのほか、弦楽器とピアノの声部だけの「部分販売」セットがしばしば販売されていた。こうして当時のピアノ協奏曲は、出版されると同時に、ピアノ付き室内楽、つまり管打楽器なしで演奏できる音楽になっていた。それはこのジャンルが、家庭やサロンで、より気楽に楽しめる音楽として存在し得たことを意味している。 | |||||
抄録(英) | ||||||
内容記述タイプ | Other | |||||
内容記述 | Around 1830, at the time of the composition of Chopin's famous piano concertos, there was a unique practice of publishing music for sale. Not only whole parts set for a full orchestra, but also smaller parts set for a piano sextet or quintet without winds, could be purchased. It was therefore possible, if there were a pianist and some string players, to play piano concertos at salons or private rooms, probably in a relaxed atmosphere. For concertgoers of today, it is a little bit difficult to imagine a piano concerto performance in such a manner. Today piano concertos are performed at big concert halls for a silent audience that understands it as an art form. In Chopin's time a concerto performance was not so "serious." For example, the audience was talking and applauded after a favorite phrase, even if the soloist was playing the piano concerto at an orchestral concert hall. The performance was understood as entertainment. The edition of Chopin's piano concertos for a piano sextet, based on their first editions of the 1830's, will enable musicians to perform these concertos with a small ensemble in an intimate circumstance, which is essential for understanding them and the genre of that time. | |||||
雑誌書誌ID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA11576760 | |||||
NII論文ID(NAID) | ||||||
110004627639 | ||||||
書誌情報 |
静岡文化芸術大学研究紀要 en : Shizuoka University of Art and Culture bulletin 巻 5, p. 143-152, 発行日 2005-03-31 |