Performance has an activation mechanism that gives life to works. As Mei Niuyin, a violinist, pointed out, "What is the task of a performer? He is between the composer and the audience, passing on the living factors to the dry notes written on the spectrum and restoring their life pulse. " On the one hand, the activation mechanism of performance is embodied in transforming the symbolic form into vivid sound dynamics, so that the appreciator can feel the concrete and sensible auditory image; On the other hand, outstanding works are preserved and have lasting vitality in social music life through the continuous dissemination of generations of performers (also relying on recording means). From this perspective, the development history of music works is the performance history of works, and the re-creation of each performance is a part of the existence and development of music works. On the contrary, some masterpieces were ignored by the performers and gradually lost their influence, becoming archives kept in museums, and only after the performers excavated and sorted them out could they be revived. Kaufman, an American violinist, made Vivaldi's eight lost concertos shine again in the concert, which is proved by Licht's saving some of Schubert's forgotten beautiful sonatas.
It is true that music performance is an art with high technical requirements. It takes years of performance or singing training for performers to perform well. As far as music performance is concerned, whether it can inject life into music is often the key to success. For example, in the piano art, the performance of slow movements is very skillful, which requires both reason and the poet's sentimental temperament, so that the expression of each phrase and the color of harmony can be properly expressed. Pianist Rudolf Fergus once said in an interview: "I try to avoid using technique this time, because my definition of this word is different from most musicians' understanding of it. Skill is usually regarded as the speed and accuracy of playing. Similarly, people often think that it is related to music such as Liszt's etudes, Chopin's etudes and Rachmaninov's concerto. But I think: when playing a soft note in a slow-paced piece of Mozart's music, you need no less skills than playing a stormy passage in Liszt's rhapsody. Skill is a combination of many factors. These factors include: the mastery of speed and rhythm, the use of pedals, the weight of touching keys, and the handling of paragraphs. Obviously, if you want to play some difficult music, you must coordinate all parts of your body and make all preparations for playing. In addition, you must have some basic knowledge that people take for granted. " Sometimes, any inanimate note or festival may make its performance boring, and this may be the most meaningful place. The same is true for vocal performances, and singers must be good at conveying their innermost feelings to the audience. Its singing is not just an accurate expression of skills, but a highly personalized self-expression, and its effect must be conscious to the audience. Although in this respect, people can realize that the richness of personal aesthetic emotional experience and the perfection of artistic accomplishment are directly beneficial to artistic performance activities, many people are often satisfied with the grasp of musical movement form and ignore the higher artistic aesthetic level.
Performance can not only introduce a work from a positive and positive perspective, but also expand its influence, test, supplement and enrich the expressive force of the work, strengthen the author's aesthetic consciousness and improve the aesthetic value of the work. It will also misinterpret and distort the works from a negative and negative perspective, which will affect the communication of the subject's aesthetic consciousness and weaken the aesthetic value of the works.
Successful re-creation can not only accurately reveal the charm of the work, but also make it more vivid and perfect, with unique and fresh appeal. Xie Luofu, a music theorist in the former Soviet Union, said: "The great secret of great performers is that they use their genius to brilliantly explain their works from the inside and put the whole new realm they feel in their works, but they are still very objective." On the one hand, performers and singers complement and enrich the works by strengthening the positive factors of the works, highlighting the aesthetic consciousness and progressive tendency in the connotation and emphasizing the creation of beauty in the expression form. Toscanini's biographer mentioned: "toscanini's greatness lies in his ability to faithfully convey the original to the audience-even more profound than the original author." French composer Ravel said: "I think the success of this incomplete and uncreative work is mainly due to the excellent performance."
On the other hand, poor performance will not only affect the aesthetic characteristics of the work, distort its connotation and uglify its form, but also make the work unrecognizable. Conductor Henry Wood talked about the impression of enjoying Bach's "The Passion of Matthew" at Birmingham Music Festival as a child, and said with regret: "The four-hour boring performance made this immortal work as dull as a graveyard!" Stravinsky also pointed out: "A composer takes a terrible risk whenever his work is played." When talking about one of his performances, prokofiev quipped: "When I came back after playing the third concerto, I played Miyaskovsky's Strange Thoughts, but because I knew that the author was there, I didn't play it very well, so that Miyaskovsky didn't recognize it as his own work." It can be seen that the life and death of the work, the display of beauty and ugliness, and the true and false features are closely related to the performer's performance and singing level. From here, we once again see that performers have the power to give life to their works and the possibility to stifle their vitality.
Next, let's talk about the relationship between aesthetic consciousness and performance re-creation.
Horowitz, a great pianist, thinks that the works of classical masters also have the creation of individuality. He believes that Beethoven, like other composers' works, can also be improved.' Music score is not the Bible'. The concretization and artistry of aesthetic consciousness are embodied in the passion of creation and the freedom of expression in the performance style. The violinist Chrysler once said, "A musician's hobby is his art.. In art, they are blessed by God! " Others commented on his performance and thought it was full of emotion.
It is also a style that romantic performers like to pursue to put all kinds of expressive factors in music in strong and bright contrast, so as to form vivid and colorful images and dynamics. Some critics have commented on Horowitz's performance: "He can play from a very gentle mood to a unrestrained passion, from a soft voice whispering to a majestic sound brewing a volcanic eruption, from an ecstatic ecstasy to an octave of lightning and surging waves."
The unique aesthetic traditions and aesthetic concepts pursued by different nationalities are reflected in the performance re-creation, which also makes the second creation present a colorful style.
The aesthetic concept of unity of beauty and goodness, unity of reason and unity of form and spirit advocated in the cultural tradition of the Chinese nation shows a balanced, moderate and implicit artistic style, which is also clearly reflected in the performance and singing of music performers. Pianist Fu Cong's clever, wise and detached flag when playing Chopin's works makes his music very poetic and charming.
His father, the famous translator Fu Lei, also discussed the reasons in "Letters from Fu Lei": In Europe, after romanticism reached its climax in all aspects of literature and art in the 19th century, there was a reaction between realism and naturalism, and then there was a general anti-romantic trend of thought around the 2th century. There are two manifestations of this trend of thought. First, it attaches great importance to the senses. In music, Richard Strauss is the representative, and in painting, Mattis is the representative. First, it is very rational, as are many composers in modern times. Picasso in painting can be classified into this category. Modern and modern people go to extremes against the trend of thought in the 19th century, and go from too much emotion to too much reason. The performer is no exception. Chopin is a semi-classical and semi-romantic person, so modern young people can't play well. On the other hand, we in China have neither the romantic craze like that in Europe in the last century, and our nationality is quite Olympic, such as poets in the Han and Wei Dynasties, such as Li Bai and Du Fu, so we are endowed with excellent conditions to express Chopin. It can be seen that the accumulation of national cultural traditions and aesthetic consciousness have great influence on understanding and expressing music.
The reason why an excellent performer can grasp the charm of his work style and understand the spirit in the deep dynamic sound lies in that he does not imitate the formal treatment of this style from the surface and fur, but seeks the root of this style from the cultural tradition and aesthetic consciousness, and then starts from the fundamental things and carries out perceptual feelings, experiences and rational thinking, so that he can reach the realm of "transformation", such as Mei Niuyin's performance of Indian classical music Rag. Pianist Turek is one of the experts in interpreting Bach's music. Her study of philosophy, history, art history, science and many other aspects makes her performance more profound. Turek seems to have injected lifelong thinking behind every note, with gentle but accurate fingers and a very distant artistic conception.
Different aesthetic experiences and tastes will affect the different imagination and association range of performers, and even directly affect the performance style; Artists who seek inspiration from natural beauty will show their pursuit of naturalness and no sense of carving in their performances, and will show their charm as broad and colorful as nature; Performers who draw nutrition from sister art will have rich and vivid artistic conception and the depth of unity of sensibility and rationality in their creation; Creators who experience life and art in social life will be as kind and touching as life and as complex and changeable as social dynamics when interpreting music; A performer who takes the spiritual life of human beings as the connection point of music must have a unique view on the experience of human emotions and psychology, which will be more profound and delicate when reflected in music.
As piano master Horowitz said, music is behind the notes, not below them. Giving the notes vitality is also the responsibility and charm of music performance.