享誉国际的小提琴大师黄滨与享有“中国巴赫诠释典范”美誉的钢琴家盛原联袂登场，两者以各自独到的艺术视角，跨越时空界限，重新诠释“音乐巨匠”贝多芬的经典之作，引领听众攀越音乐的高峰，沉醉于古典音乐那无垠而深邃的美妙世界。 贝多芬的十首小提琴奏鸣曲，作为他留给后世小提琴文献中的瑰宝，长久以来被尊为不可多得的经典。 这些作品不仅深深植根于古典主义的土壤，更蕴含着贝多芬对音乐创新的不懈追求，它们如同一座座桥梁，引领听众从古典主义跨越到浪漫主义，感受音乐潮流的波澜壮阔与细腻变迁。 小提琴文献中的“新约”——贝多芬十首小提琴奏鸣曲 “The New Testament” in Violin Literature: Beethoven’s Ten Violin Sonatas 温德汉 Dehan Wen 在小提琴的文献中，贝多芬的十首小提琴奏鸣曲占有最重要的地位，常说巴赫的六首《小提琴无伴奏奏鸣曲与组曲》是小提琴文献中的“旧约”，那“新约”就是贝多芬的这十首小提琴奏鸣曲了。和他的交响曲、钢琴奏鸣曲、弦乐四重奏等作品一样，小提琴奏鸣曲数量充沛，不但继承了古典乐派的精髓，而且带着听者感受贝多芬的创新与发展是如何引领着音乐潮流的变化，领略音乐从古典主义到浪漫主义的发展。几乎每一位的职业小提琴演奏家，都会接触和演奏“乐圣”贝多芬的这十首作品或其中的几首，就像钢琴演奏家几乎没有不弹肖邦作品的情况一样。 In the realm of violin literature, Beethoven’s ten violin sonatas hold an esteemed and paramount position. They are often regarded as the “New Testament” in violin literature, following Bach’s six violin unaccompanied sonatas and suites, which are considered the “Old Testament”. Just like Beethoven’s symphonies, piano sonatas, and string quartets, his violin sonatas showcase a remarkable abundance in quantity. Not only do they inherit the essence of classical music, but they also provide listeners with an opportunity to witness Beethoven’s innovative spirit and how it shaped the course of musical evolution. Exploring these sonatas allows one to appreciate the transformation of music from the era of classicism to romanticism. Almost every professional violinist will come into contact with and perform these ten works, or at least a few of them, by Beethoven, much like pianists rarely exclude Chopin’s compositions from their repertoire. 贝多芬的十首小提琴奏鸣曲大致分为四个部分。第一至第三号（作品12号的三首）是第一部分，多少受着古典主义尤其是莫扎特的影响。在第二阶段的第四、第五号（作品23和24号），贝多芬个人的独特风格明显呈现。第三阶段的第六至八号（作品30号）贝多芬开始走向他个人的巅峰，在第四阶段开始的第九号到达了顶峰，而第十号则是这十首小提琴奏鸣曲中唯一一首完成于贝多芬后期的作品。 Beethoven’s ten violin sonatas can be roughly divided into four parts. The first part consists of No. 1 to No. 3 of Op. 12, which bear traces of classicism, particularly influenced by Mozart. In No. 4 and No. 5 (Op. 23 and 24), Beethoven’s distinctive personal style is clearly presented. As we move on to No. 6 to No. 8 of Op. 30, Beethoven begins to ascend to his personal peak, culminating in the brilliance of No. 9 of Op. 30. The tenth piece stands out as the sole violin sonata completed during Beethoven’s later period. 事实上，在贝多芬的十首小提琴奏鸣曲之外，还有一首名为Hess 46的A大调未完成的奏鸣曲，是贝多芬于1790年至1792年间为钢琴和小提琴创作的一部片段式作品，也可能是一部未完成的作品。该作品由音乐学家威利·赫斯（Willy Hess）发现，可能是贝多芬首次尝试为这种小提琴和钢琴组合创作的作品之一。这部作品目前不大被认可为贝多芬的“正式”作品，所以公开演出的机会并不多。 In addition to Beethoven’s renowned ten violin sonatas, there is also an unfinished sonata in A major called Hess 46. This fragmented work was created by Beethoven for piano and violin between 1790 and 1792 and may remain incomplete. Musicologist Willy Hess discovered this piece, which could potentially be one of Beethoven’s early endeavors in composing for the violin and piano combination. However, it is worth mentioning that this composition is not widely acknowledged as Beethoven’s “official” work, resulting in limited opportunities for public performances. 贝多芬的前三首小提琴奏鸣曲创作于1797-1798年，1799年在维也纳一起出版，题献给他的前老师安东尼奥·萨列埃里。这些作品遵循了海顿和莫扎特所开创的三乐章奏鸣曲的形式，是典型的十八世纪的奏鸣曲风格。这三首小提琴奏鸣曲继承了莫扎特的特色，强调了小提琴和钢琴两种乐器的合作，而不是钢琴为小提琴伴奏，这就同时给两位演奏者提出了更高的要求。 Beethoven’s initial three violin sonatas were composed between 1797 and 1798 and published together in Vienna in 1799, dedicated to his former teacher Antonio Salieri. These works follow the form of the three movement sonata created by Haydn and Mozart, and are typical of the sonata style of the 18th century. These three violin sonatas inherit Mozart’s characteristics, emphasizing the cooperation between the violin and piano instruments, rather than the piano as a violin accompaniment, which puts higher demands on both performers. 这标志着贝多芬早期的小提琴和钢琴作品在风格上有了很大的进步，D大调第一小提琴奏鸣曲显示出高超的技巧，尽管它没有达到后期作品的伟大和深度。第一乐章和第三乐章在音乐上并不复杂，但第二乐章表现出对变奏形式的深刻理解，在结构上与“克莱采”奏鸣曲（作品47）中的同一乐章相似。A大调第二小提琴奏鸣曲与第一和第三奏鸣曲在性格上有所不同，因为它是加兰特风格，而其他两首奏鸣曲则更具戏剧性和活力，尤其是降E大调第三小提琴奏鸣曲。后者的第一乐章和第三乐章与第一小提琴奏鸣曲相似，年轻俏皮，而第二乐章则风格更加成熟。 This marks a significant improvement in the style of Beethoven’s early violin and piano works, with the First Violin Sonata in D major demonstrating superb technique, although it did not reach the greatness and depth of later works. The first and third movements are not musically complex, but the second movement demonstrates a profound understanding of the form of variation, structurally similar to the same movement in the “Kreutzer” sonata (Op. 47). The second violin sonata in A major is different in personality from the first and third sonatas because it is in the Galant style, while the other two sonatas are more dramatic and energetic, especially the third violin sonata in E-flat major. The first and third movements of the latter are similar to the first violin sonata, young and playful, while the second movement has a more mature style. 第四小提琴奏鸣曲（作品23）完成于1800年和第五小提琴奏鸣曲（作品24）完成于1800-01年间，并在1801年10月一起出版，题献给莫里茨·冯·弗里斯伯爵（Count Moritz von Fries）。a小调第四小提琴奏鸣曲标志着戏剧风格比前三部略有进步，但F大调第五小提琴奏鸣曲标志着小提琴创作的最大发展，因为引入主旋律的是小提琴，而不是像前四首奏鸣曲那样由钢琴引入。第四奏鸣曲的外乐章代表了两种乐器之间的关系，以及在“克莱采”奏鸣曲中达到最高点的音乐风格在这里小试牛刀。 The Fourth Violin Sonata (Op. 23) was completed in 1800, and the Fifth Violin Sonata (Op. 24) was completed between 1800 and 1801 and published together in October 1801, dedicated to Count Moritz von Fries. The fourth violin sonata in a minor marks a slight improvement in theatrical style compared to the first three parts, but the fifth violin sonata in F major marks the greatest development in violin composition, as the introduction of the main melody is by the violin, rather than by the piano, as in the first four sonatas. The outer movement of the fourth sonata represents the relationship between the two instruments, as well as the musical style that reached its peak in the “Kreutzer” sonata, which is a small test here. A小调奏鸣曲从未像F大调奏鸣曲那样受欢迎，尽管它有一段俏皮的行谐谑曲行板，它结合了慢乐章和谐谑曲的功能。贝多芬在这部作品中仍然坚持三乐章写法，但在被称为“春天”的F大调奏鸣曲中，增加了一个简短的谐谑曲和三声中部，将其扩大到四个乐章。“春天”这个别名不是贝多芬起的。在德语国家，他的一些小提琴奏鸣曲也被冠以别名：c小调第七小提琴奏鸣曲（作品30之2）有时被称为“公鸡”，而G大调第八小提琴奏鸣曲（作品30之3）通常被称为“香槟”奏鸣曲。 The Sonata in a minor has never been as popular as the Sonata in F major, although it has a playful scherzo andante that combines the functions of a slow movement and a harmonious scherzo. Beethoven still adhered to the three movement writing style in this work, but in the F major sonata known as “Spring”, a brief scherzo and trio. were added, expanding it to four movements. The nickname “Spring” was not coined by Beethoven. In German speaking countries, some of his violin sonatas are also given nicknames: Violin Sonata No. 7 in c minor (Op. 30-2), sometimes referred to as “Rooster”, while Violin Sonata No. 8 in G major (Op. 30-3) is commonly referred to as “Champagne” sonata. 贝多芬的作品30是三首小提琴奏鸣曲，创作于1802年，并于1803年在维也纳出版，题献给俄罗斯沙皇亚历山大一世。A大调、c小调和G大调奏鸣曲在音乐风格和小提琴创作方面比他早期的作品有了很大的进步，最终标志着他与前辈们分道扬镳。然而，小提琴的音域与以前的奏鸣曲（g-a'''）没有什么不同，大概反映了它们所面对非专业演奏者的平均能力。两首大调奏鸣曲有三个乐章，而c小调奏鸣曲则有四个乐章。在这三部作品中，小提琴和钢琴在每个乐章中都需要表现主题。 Beethoven’s Op. 30 consists of three violin sonatas, created in 1802 and published in Vienna in 1803, dedicated to Tsar Alexander I of Russia. The sonatas in A major, c minor, and G major have made significant progress in music style and violin composition compared to his early works, ultimately marking his departure from his predecessors. However, the range of violins is not much different from previous sonatas (g-a'''), roughly reflecting their average ability to face nonprofessional performers. Two sonatas in major have three movements, while the sonata in c minor has four movements. In these three pieces, the violin and piano need to express themes in each movement. 轻松优雅的G大调第八小提琴奏鸣曲在风格上可能不如c小调第七奏鸣曲那么火热的奏鸣曲显现，尽管在第八奏鸣曲中，“我们处于一种和谐的完美境界，第一乐章阳光明媚的欢乐，第二乐章小步舞曲的庄严之美， 结尾的第三乐章回旋曲的幽默跳跃结合在一起，非常平衡，为我们提供了十首奏鸣曲中最和谐的作品之一。” The relaxed and elegant Violin Sonata No. 8 in G major may not be as hot as the Sonata No. 7 in c minor in style, although in the No. 8 Sonata, “We are in a harmonious and perfect state, with the sunny joy of the first movement, the solemn beauty of the minuet in the second movement, and the humorous jumping of the rondo in the third movement at the end combined, very balanced, providing us with one of the most harmonious works of the ten sonatas.” 极具戏剧性的c小调第七小提琴奏鸣曲在调性上贝多芬的“悲怆”钢琴奏鸣曲和第五交响曲同一调性，是贝多芬最受欢迎的小提琴奏鸣曲之一，最受欢迎的小提琴还有第五和第九首。它展示了贝多芬在音乐风格上的最大进步，因为四个乐章遵循一个近乎交响乐的架构，整首奏鸣曲是一部浑然天成的杰作。外乐章的张力和节奏的一致性，如“克莱采”奏鸣曲般，使这首奏鸣曲成为一首充满激情的迷人作品，也是贝多芬最令人印象深刻的小提琴和钢琴奏鸣曲之一。 The highly dramatic Violin Sonata No. 7 in c minor shares the same tonality as Beethoven’s Piano Sonata No. 5, making it one of Beethoven’s most popular violin sonatas. His most popular violin sonatas include No. 5 and No. 9. It showcases Beethoven’s greatest progress in musical style, as the four movements follow a nearly symphonic structure, and the entire sonata is a natural masterpiece. The tension of the outer movement and the consistency of rhythm, like the “Kreutzer” sonata, make this sonata a passionate and charming work, and also one of Beethoven’s most impressive violin and piano sonatas. 贝多芬第九小提琴奏鸣曲（作品47）创作于1802-03 年，1805 年在波恩出版，这是他十首奏鸣曲中作曲最成熟的一首，尽管那是在作品30的三首奏鸣曲完成后不久写的。它最初是题献给小提琴家乔治·波尔格林·布里奇塔（George Polgreen Bridgetower），他在1803年首次与贝多芬一起演奏这首小提琴奏鸣曲，但贝多芬随后将献词改为小提琴家克莱采，克莱采从未承认过被题献，甚至从未在公开场合演奏过这部作品。当这部作品首次出版时，它的标题是“钢琴和小提琴奏鸣曲，以非常接近协奏曲的风格写成，规模也类似协奏曲”。这首没有管弦乐伴奏的两种乐器的“协奏曲”在小提琴和钢琴的二重奏曲目中是独一无二的。这是贝多芬要求最高、最著名的小提琴和钢琴奏鸣曲，它将小提琴的技术潜力扩展到更专业的水平。 Beethoven’s Ninth Violin Sonata (Op. 47) was created in 1802 and 1803 and published in Bonn in 1805. It is the most mature sonata he has composed among his ten, although it was written shortly after the completion of the three sonatas in Op. 30. It was originally dedicated to the violinist George Polgreen Bridgetower, who performed this violin sonata for the first time with Beethoven in 1803. However, Beethoven later changed the dedication to the violinist Kreutzer, who never admitted to being dedicated or even performed the work in public. When this work was first published, its title was “Piano and Violin Sonata, written in a style very close to that of a concerto, with a scale similar to that of a concerto”. This concerto for two instruments without orchestral accompaniment is unique in the duet for violin and piano. This is Beethoven’s most demanding and famous violin and piano sonata, which extends the technical potential of the violin to a more professional level. 贝多芬十首小提琴和钢琴奏鸣曲中的最后一首作品是作品96，创作于1812年，并于1816年在维也纳出版。它是题献给鲁道夫大公（Archduke Rudolph Johannes Joseph Rainier of Austria）的，1812年由法国小提琴家皮埃尔·罗德（Pierre Rode）与弹钢琴的大公进行了首演。贝多芬当时已经创作了这首奏鸣曲的一部分，在1812年的一次音乐会巡回演出罗德来到了维也纳，这给了贝多芬完成这部奏鸣曲的动力，他在时隔十年后终于回到了小提琴奏鸣曲领域。这次贝多芬并未沿着第九奏鸣曲的方向前进，而是有点回到前八部奏鸣曲的那种状态，因为他在写作时，心中想象演奏者并不是像第九奏鸣曲那样的具备优秀演奏能力的专业小提琴演奏家，而是如前八首那样，演奏者可以是业余水平的人士。 The final piece of Beethoven’s ten violin and piano sonatas is Op. 96, composed in 1812 and published in Vienna in 1816. This particular sonata bears the dedication to Archduke Rudolph Johannes Joseph Rainier of Austria. Its premiere took place in 1812 with French violinist Pierre Rode alongside the piano accompaniment of Grand Duke. Beethoven had already created a part of this sonata at that time. In 1812, during a concert tour, Rhodes came to Vienna, which gave Beethoven the motivation to complete this sonata. After a decade, he finally returned to the field of violin sonatas. This time Beethoven did not move forward in the direction of the Ninth Sonata, but rather returned to the state of the first eight sonatas, because when he was writing, he imagined that the performer was not a professional violinist with excellent performance ability like the Ninth Sonata, but, as in the first eight sonatas, the performer could be an amateur. 演奏者：黄滨（小提琴）、盛原（钢琴） 统筹：温德汉 监制：黄滨、盛原 录音师：冯汉英 后期制作：冯汉英 录音时间：2021年2和8月 录音地点：中国音乐学院国音堂