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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,musiceducatorandsocialactivistinHungaiy,FranzLisztwasoneofthepeoplewhosebusinessesweremostbrilliantduringtheRomanticismperiod.WellknowninthehistoryofWesternmusic,LisztMmusicideas
2、andpracticeswerefamousfororiginalityandprospective,especiallyhislaterpianoworksweredifferentfromthepastinquality.Today,IreportonthetopicofLiszt'slatepianoworksafterthe1860s,whilethefocalpointishiscreationafterthe1880s,withemphasisonanalysisandresearchofharmonyandmusicalform,andcomparehiscr
3、eativetechniqueswith20thcenturyimpressionistpianoworks.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。Fromtheearlyquestofvirtuosop
4、layingandthemiddleexplorationofprogrammusic,toseekingsolaceinreligiousmusiclater,thefocusofLiszfsmusicalcareerchangedgreatly.Comparingwiththepreviousworks,hislaterworkswereverydifferent,themusicallanguagebecamebitter,andusedaseriesofunconventionaltechniquesasaformofexpression,whichwasnoton
5、lyrelatingtohiscouragetoreform,respectedandinnovativemusicalideas,butalsoconnectingwithLiszfsill-fateddestiny.Consistentwiththevastmajorityofromanticists,Lisztinsistedthetheorycalledheteronomyofmusicalaesthetic・Althoughthisconcepthadn^tbeenusedasaspecialaestheticterminology,mostofthecompos
6、ersofthisperiodconsideredthatmusicperformedsomethingotherthanpuretone,thecontentofmusicwasanexpressionofemotion.Somostpeoplewithromanticidealsadvocatedsubjectivefeelingsofexpression,fullofloveofnatureandfantasyofthefuture.Sowhethertheywerevirtuosoplayingskills,ortechniquestosubvertthetradi
7、tionalcomposition,inLiszt'sopinion,whichwastheneedtoexpressthemselves.Fromthisperspective,thedifferencebetweenLiszfsmusicallanguageduringhisearlyandlaterperiodwasultimatelyachangeofhisinnerfeelingsinhisoutwardmanifestation.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寻求安
