Performer 演奏者
Name: Cynthia Zhang
Grade: 10
School: Northfield Mount Hermon
姓名：张澜馨
年级：10
学校：北野山高中
About 关于 This is me three years ago playing Liszt Hungarian Rhapsody No.11 in A minor at the Steinway Recital Hall in Beijing. Even though the piece is technically demanding, the romantic yet melancholic spirit of the composer enters into the picture.
这是我三年前在北京施坦威之家演奏的一首我非常喜欢的作品。虽然它的技巧性非常高，但是又不失作曲家与身俱来的浪漫和忧郁气息。
Introduction 作品简介
Two successive visits to Hungary during 1839-40 inspired the nineteen Hungarian Rhapsodies of Franz Liszt. The composer had been absent from his homeland for over a decade and the visits motivated him to immortalize his country and heritage in music. During these two visits, he transcribed melodies he heard performed by roaming gypsy bands. Liszt believed these to be authentic Hungarian folk music. However, most of them were actually the inventions of contemporary Hungarian composers whose fame had spread into the popular scene.
Nevertheless, Liszt composed his Rhapsodies and published fifteen of them between 1851 and 1853. The remaining four followed decades later in 1882-86. Several became quite popular with audiences and later appeared in altered forms. Six of the Rhapsodies were arranged by Franz Doppler for orchestra while Liszt transcribed the same six, as well as three others, for piano duet. Two were arranged by the composer himself for violin, cello, and piano.
The eleventh Hungarian Rhapsody, in A minor, is one of the briefest and musically more showpiece than anything else. Nevertheless, it does display Liszt’s often ingenious coloristic effects with its mimicking of the cimbalom, a Hungarian instrument related to the dulcimer. The Rhapsody opens with a Lento a capriccio. Quiet, trembling chords dominate the beginning, though at moments a fiery melodic motif interjects but only to subside back into the effervescent musical landscape. A brighter mood arrives with the following section, Andante sostenuto, and a shift to the tonic major key. The melody is both tender and stately, but throughout full of a youthful vigor. The Rhapsody takes flight in the following section as the tempo suddenly jumps to a Vivace assai and a simple turn-like motif in F-sharp minor is accompanied by rapidly ascending chromatic scales.
Lastly, the Rhapsody concludes with a grandiloquent Prestissimo in F-sharp major. A brief section, it rushes with abandon to a bombastic conclusion, in the ostentatious style one expects of Liszt, of tonic and dominant chords.
1839-1840年间，连续两次访问匈牙利激发了李斯特的十九首匈牙利狂想曲。这位作曲家已经离开祖国十多年了，这次访问促使他将自己国家的音乐遗产变得永垂不朽。在这两次访问中，他转录了他听到的由流浪吉普赛乐队演奏的旋律。李斯特认为这些是真正的匈牙利民间音乐。然而，这些作品中的大多数实际上是当代匈牙利作曲家的发明，他们的名气已经传遍了大众的视野。
李斯特创作了他的狂想曲，并在1851年至1853年间出版了其中15首。剩下的40个于1882-86年创作。其中几部很受观众欢迎，后来以不同的形式改编出现。其中六首狂想曲是由弗兰兹·多普勒为管弦乐队编排的，而李斯特为钢琴二重奏抄录了这六首，以及另外三首。两首是作曲家自己为小提琴、大提琴和钢琴创作的。
第十一首A小调匈牙利狂想曲是最简短和最具音乐表现力的作品之一。尽管如此，它模仿了与扬琴有关的匈牙利乐器cimbalom，显示了李斯特常常独具匠心的色彩效果。狂想曲以一首朗托随想曲开场。在音乐的旋律中，一种激动人心的旋律渐渐平息下来。一个更明亮的心情随着以下部分的到来，行板奏鸣，和一个转向主音大调。旋律既柔美又庄重，但始终充满青春活力。狂想曲在接下来的章节中飞驰而过，节奏突然转变到非常活跃的气氛当中，F小调中一个简单的转折式主题伴随着快速上升的半音音阶。最后，狂想曲以F大调华丽的结尾。在一个简短的部分，它匆匆忙忙忙地得出一个夸张的结论，凸显出李斯特的炫技风格。
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