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演奏之外
这是一部青年钢琴演奏家张昊辰写在“演奏之外”的音乐哲学随笔。在古典音乐与大众审美存在距离的今天，作者试图讲述的是自己心目中鲜活而又深刻、细腻而又广阔的属于古典音乐的完美世界。从古典音乐与哲学、美学、历史、社会的关系，到在音乐史上留下重要印迹的作曲家们的艺术人生，再到作者本人在与钢琴对话的生涯中感知到的共鸣和张力，书中的随笔思考看似断章，实际上连贯地呈现了既是青年也是钢琴演奏家的张昊辰对古典音乐和演奏舞台的理解、热爱、依恋与期待。
Hardcover
Published July 1, 2022
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Displaying 1 - 3 of 3 reviews
January 18, 2024
(review in english, not chinese - because i know all too well my limits)
i ordered this book - well, got a friend to snatch it for me from taobao - on the strength of zhang haochen's interpretation of liszt's transcendental études. i was listening to those interpretations again with a friend recently, and its merits still speak for themselves: total melodic and textural clarity, frequent phrasal inventiveness, an acute understanding of pace and structure. and what is true of zhc's playing is frequently true of his writing as well.
a lot of writing about music, especially in the anglosphere, tends to the glib: one says something seemingly profound about beethoven's reach into the unknown (as have writers influenced by Mann, for example, in speaking of the op 111) or about schubert's loneliness and how it inflects his late works. in doing so they commit the mistake of what Bourdieu called (pardon the loose translation) the objectivization of an ultimately subjective and personal feeling, while not actually illuminating in any sense the reader. zhc's writing avoids these mistakes totally; where he does feel like expressing his opinions, he's clear to couch them as his opinions as nothing more. otherwise, he delves into aspects of the historical and intellectual context that most English music writing doesn't: for example, in discussing the debacle between absolute and program music of the 19th century (usually left by writers in this language as an obscure reference to the "War of the Romantics", which hardly clarifies the extent of the war nor its antecedents), zhc explores the related Kantian idea of adherent and free beauty and how the valorisation of the latter would have influenced composers like Brahms and critics like Hanslick in their stubborn desire to put absolute music over its programmatic alternative. he also freely cites Schopenhauer, Zizek, Sontag, Attali, and Adorno in speaking of a wide variety of composers (Chopin, Schumann, Schubert, Mahler, Janacek, Beethoven, Brahms), and overall one is left with the mystery of how zhc has the time to practice as much as he must while reading all these tracts. (seriously, how?)
I especially liked the closing essay (就此一别) , which also is the most personal of all the essays. here zhc sheds quite a bit of light on the loneliness of being a performer and the actual role of the performer in the musical ecosystem (subordinate to the stage, the music). the interviews left at the end are a pretty neat appendix too, and some comments on the plurality of interpretation and the elastic nature of musicianship resonated a lot with me. super glad to have bought this and to have spent all the time i did with the volume :)
i ordered this book - well, got a friend to snatch it for me from taobao - on the strength of zhang haochen's interpretation of liszt's transcendental études. i was listening to those interpretations again with a friend recently, and its merits still speak for themselves: total melodic and textural clarity, frequent phrasal inventiveness, an acute understanding of pace and structure. and what is true of zhc's playing is frequently true of his writing as well.
a lot of writing about music, especially in the anglosphere, tends to the glib: one says something seemingly profound about beethoven's reach into the unknown (as have writers influenced by Mann, for example, in speaking of the op 111) or about schubert's loneliness and how it inflects his late works. in doing so they commit the mistake of what Bourdieu called (pardon the loose translation) the objectivization of an ultimately subjective and personal feeling, while not actually illuminating in any sense the reader. zhc's writing avoids these mistakes totally; where he does feel like expressing his opinions, he's clear to couch them as his opinions as nothing more. otherwise, he delves into aspects of the historical and intellectual context that most English music writing doesn't: for example, in discussing the debacle between absolute and program music of the 19th century (usually left by writers in this language as an obscure reference to the "War of the Romantics", which hardly clarifies the extent of the war nor its antecedents), zhc explores the related Kantian idea of adherent and free beauty and how the valorisation of the latter would have influenced composers like Brahms and critics like Hanslick in their stubborn desire to put absolute music over its programmatic alternative. he also freely cites Schopenhauer, Zizek, Sontag, Attali, and Adorno in speaking of a wide variety of composers (Chopin, Schumann, Schubert, Mahler, Janacek, Beethoven, Brahms), and overall one is left with the mystery of how zhc has the time to practice as much as he must while reading all these tracts. (seriously, how?)
I especially liked the closing essay (就此一别) , which also is the most personal of all the essays. here zhc sheds quite a bit of light on the loneliness of being a performer and the actual role of the performer in the musical ecosystem (subordinate to the stage, the music). the interviews left at the end are a pretty neat appendix too, and some comments on the plurality of interpretation and the elastic nature of musicianship resonated a lot with me. super glad to have bought this and to have spent all the time i did with the volume :)
March 5, 2023
文笔太好，思考太深，不是我的茶。最后两篇谈及自己弹琴感受y不错。最后一部分访谈相当好（可能是因为说的话比较直白易懂吧……）。
October 9, 2023
一个演奏家对于古典音乐的一些重要的作曲家及其作品的私人诠释，辅以每人时代的背景和个人的境遇，对我是挺好的科普。一边读一边听演奏家本人对于这些作曲家的作品的诠释，特别有意思。
但这样一本随笔售价55元似乎有些贵了 - 还是现在的书价涨了这么多？
但这样一本随笔售价55元似乎有些贵了 - 还是现在的书价涨了这么多？
Displaying 1 - 3 of 3 reviews