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所在平台: Udemy |
课程主页: https://www.udemy.com/course/classical-music-class-composers-fanny-and-felix-mendelssohn/
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课程名称：古典音乐课：作曲家芬妮与费利克斯·门德尔松 课程概述：本课程探讨了浪漫主义时期的著名作曲家费利克斯·门德尔松及其同样才华横溢但尚未被充分认可的妹妹芬妮·门德尔松。费利克斯的音乐自生前至今广受赞誉，而芬妮的作品近年来才逐渐被人们认出并承认。19世纪是一个女性作曲家难以被接受的时代，芬妮与费利克斯同样接受了音乐教育，但费利克斯被鼓励追求音乐事业，而芬妮则被告知只能成为业余爱好者。尽管如此，芬妮依然坚持自己的音乐梦想，在丈夫的鼓励下继续创作，参加家庭音乐会，演奏自己的作品。 课程中将分析芬妮为钢琴独奏创作的《Lied 和 Lenau》，这首作品曾被误认为是费利克斯的。芬妮开创了一种将声乐和钢琴部分融入单一钢琴独奏作品的构思。我们还将研究费利克斯的《威尼斯贡多拉之歌》第2卷，作品30，探讨她和费利克斯对“无词歌曲”这一流派的发展所作出的贡献。 此外，课程将探讨费利克斯的意大利交响曲第4号的第四乐章——《盐塔雷洛》，并讨论该乐章的额外音乐来源及其对音乐创作的影响。通过对芬妮与费利克斯作品的深入分析，包括音色、旋律、形式、和声等音乐元素，我们将发现他们在浪漫时期音乐美学中的重要地位。 通过这门课程，您将更深入理解芬妮与费利克斯·门德尔松为何成为19世纪广受喜爱的作曲家，以及他们对音乐元素和美学发展的重要贡献。
This course is about one of the more loved and appreciated composers of the Romantic period - Felix Mendelssohn, and his equally talented, and yet to be discovered sister and composer, Fanny Mendelssohn. While Felix Mendelssohn's music has been widely popular and appreciated during his life time and until this very day, Fanny Mendelssohn's music has been only recently discovered and identified as hers. The 19th century was a time when it was not acceptable for women to be composers, not to mention recognized and accomplished.While both Fanny and Felix received the same musical education as children, Felix was encouraged to pursue a career in music, yet Fanny was told that she could never become more than an amateur. Fanny did not accept this verdict, and with the encouragement of her husband, she continued to compose music. Fanny pursued her love for music by playing the piano, conducting her choir, and performing her own music during Sunday concerts at her home.During her life time, some of Fanny's music, including several of her Songs Without Words, were published under her brother's name. Consequently, until recently these works were considered to be Felix's, and all of the credit and recognition went to him. In this course we will analyze and get to know one of Fanny's works for piano solo called Lied and Lenau from her collection of Songs Without Words, a song that was considered to be Felix's. While it's credited to her brother Felix, is was Fanny who began to compose Lieder, but for piano solo. The Lied at the time was one of the most popular and favorable genres for composers to write for voice and piano. It was Fanny Mendelssohn who came up with the idea of assigning both the voice and piano parts to a single instrumental work for piano solo. We will also analyze Felix's Venetian Gondola Song, volume 2, Op. 30 from his own collection of Songs Without Words. Through the analysis of both of Fanny's and Felix's works - Songs Without Words, we will explore their contribution to the development and evolution of this genre. We will discuss these two works through close examination of their various music elements such as texture, melody, form, harmony, key/scale, orchestration, instrumentation, word painting, and more.In this course we will also explore Felix Mendelssohn's Italian Symphony No. 4, the fourth movement - Saltarello, and discuss the extra musical origins and influences on this movement, and how Felix incorporated those ideas into his music. We will discover some of Felix's hidden artistic talent, that enabled him to express himself at times when music wasn't available to him.By the end of this course, you will have a better understanding of what makes Fanny and Felix Mendelssohn one of the more lovable and popular composers of the 19th century, and their significant contribution to the development of music elements and aesthetics during the Romantic era.
