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1、APioneerofImpressionistMusic一TheAnalysisoftheLaterWorksofLiszt印象主义音乐的先声——李斯特晚期作品分析Asapianist,composer,conductor,musiceducatorandsocialactivistinHungary,FranzLisztwasoneofthepeoplewhosebusinessesweremostbrilliantduringtheRomanticismperiod.Wellknowninthehisto
2、ryofWesternmusic,Liszt^smusicideasandpracticeswerefamousfororiginalityandprospective,especiallyhislaterpianoworksweredifferentfromthepastinquality.Today,IreportonthetopicofLiszt'slatepianoworksafterthe1860s,whilethefocalpointishiscreationafterthe1880s,withe
3、mphasisonanalysisandresearchofharmonyandmusicalform,andcomparehiscreativetechniqueswith20thcenturyimpressionistpianoworks.匈牙利钢琴家、作曲家、指挥家、音乐教育家和社会活动家FranzLiszt是浪漫主义时期事业最辉煌的人之一。众所周知在西方音乐史上，Liszt的音乐创作思想与实践以原创性和前瞻性著称，特别是其晩期钢琴作品具有与以往不同的品质。今天，我报告的主题就以Liszt晚期——即19
4、世纪60年代以后的钢琴作品为研究对象，而重心是其80年代以后的创作，重点在分析和研究和声与曲式，并将其创作技法与20世纪印象派的钢琴作品相比较。Fromtheearlyquestofvirtuosoplayingandthemiddleexplorationofprogrammusic,toseekingsolaceinreligiousmusiclater,thefocusofLiszt'smusicalcareerchangedgreatly.Comparingwiththepreviousworks,h
5、islaterworkswereverydifferent,themusicallanguagebecamebitter,andusedaseriesofunconventionaltechniquesasaformofexpression,whichwasnotonlyrelatingtohiscouragetoreform,respectedandinnovativemusicalideas,butalsoconnectingwithLisztsill-fateddestiny.Consistentwit
6、hthevastmajorityofromanticists、Lisztinsistedthetheorycalledhctcronomyofmusicalaesthetic・Althoughthisconcepthadn'tbeenusedasaspecialaestheticterminology,mostofthecomposersofthisperiodconsideredthatmusicperformedsomethingotherthanpuretone,thecontentofmusicwas
7、anexpressionofemotion・Somostpeoplewithromanticidealsadvocatedsubjectivefeelingsofexpression,fullofloveofnatureandfantasyofthefuture.Sowhethertheywerevirtuosoplayingskills,ortechniquestosubvertthetraditionalcomposition,inLiszt'sopinion,whichwastheneedtoexpre
8、ssthemselves.Fromthisperspective,thedifferencebetweenLiszt'smusicallanguageduringhisearlyandlaterperiodwasultimatelyachangeofhisinnerfeelingsinhisoutwardmanifestation.从早期对演奏炫技的追求，到中期对标题音乐的探索，再到晚期在宗教音乐中
