简介：
A package of new scores lay on my piano, unopened. With no small joy, we went about our little preparations: one of us opened the package, the other the piano. It was self-understood that we would begin with a piece of four hands. That, after all, is the most intimate, the most agreeable, and, within its limitations, the fullest way to make music in the home. The only way to listen to the latest symphony or opera in the nineteenth century was to either seek out a live performance or perform it at home with a piano partner, a quatre mains. Thus, an enormous amount of four-hand literature abounds from the 1820s to the 1930s. Works in transcription largely dominate this repertoire: operas, symphonies, and chamber works were adapted en masse for four hands by skilled and not so skilled musicians alike. But there were also works freshly composed in the medium, and four-handed playing could be heard in the home but also on the relatively new environment of the concert stage. The ubiquity and popularity of the four-handed format meant that it crossed national, social, and economic boundaries. As such, the piano duet was a powerful cultural site in which anxieties about gender, nationality, labour, and pleasure were write large. Adrian Daub in Four-Handed Monsters: Four-hand piano playing and nineteenth-century culture has brilliantly surveyed nineteenth-century and early twentieth-century novels for traces of how the piano duet interacted with those who played and listened to them. Daub argues on the strength of a rich and provocative bed of primary literature that four-and piano playing theatricalised nineteenth-century issues of subjectivity, community, eroticism, nationalism, and consumerism. One of the most compelling arguments in Four-Handed Monsters is Daub's exploration of how four-hands music had a particular and especial relationship to consumption and commodification. Certain, as teh ''proto-CD of nineteenth-century domestic culture,'' four-hand music was mass-produced and consumed eagerly.
曲目：
01 - Le Prophète- Ouverture
02 - Prélude No. 1- Moderamente
03 - Prélude No. 2- Andantino
04 - Prélude No. 3- Allegro Moderato
05 - Prélude No. 4- Tempo Giusto
06 - Prélude No. 5- Quasi Adagio
07 - Prélude No. 6- Andantino
08 - Prélude No. 7- Alla Giudesca
09 - Prélude No. 8- Lento
10 - Prélude No. 9- Adagio
11 - Hommage à Weber, Op. 102- Allegro Vivace
12 - Hommage à Weber, Op. 102- Andantino Con Moto
13 - Hommage à Weber, Op. 102- Allegro Vivace 试听：
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发表于 2020-1-14 08:51:27
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