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In the early twentieth century, the idea that pianists should be musician-scholars whose playing reflected the way composers wanted their music to sound replaced the notion that pianists should be virtuosos whose performances thrilled audiences with emotional daring and showy displays of technique. One important figure to emerge in the period, though a harpsichordist rather than a pianist, was Wanda Landowska (1879–1959). She demonstrated how the keyboard works of Baroque composers such as Bach, Handel, Scarlatti, and Couperin probably sounded in their own times. It would be a mistake to consider Landowska a classicist, however. She had been born in an age of Romantic playing dominated by Liszt, Leschetizky,and their pupils. Thus she grew up with and was influenced by certain Romantic traditions of performance, whatever the stringency of her musical scholarship; Landowska knew how to hold audiences breathless, and when she gave recitals, they responded with deathlike silence and rapt attention.   Her playing was Romantic, but it was at least as close in spirit to the style of playing intended by composers of the Baroque (1600–1750) and Classical (1750–1830) eras, as have been the more exacting but less emotionally resonant interpretations of most harpsichordists since Landowska. She had a miraculous quality of touch, a seemingly autonomous left hand; no artist in her generation could clarify with such deftness the polyphonic writing of the Baroque masters. And none could make their music so spring to life.   Her achievements were the result of a lifetime of scholarship, truly remarkable physical gifts, and resilient rhythm, all combined with excellent judgment about when not to hold the printed note sacrosanct. Of course, developing such judgment demanded considerable experience and imagination. She was a genius at underlining the dramatic and emotional content of a piece, and to do so, she took liberties, all kinds of liberties, while nevertheless preserving the integrity of a composer`s score. In short, her entire musical approach was Romantic: intensely personal, full of light and shade, never pedantic.   Thanks to Landowska, Bach`s music (originally composed for the harpsichord) now sounded inappropriately thick when played on the piano. One by one, pianists stopped playing Bach`s music as adapted for the piano by Liszt or by Tausig. Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti`s. The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions of Baroque music originally written for the harpsichord-and piano performances of Bach and Scarlatti were, despite the obvious similarities between the harpsichord and the piano, transcriptions, no matter how faithfully the original notes were played. In accordance with this kind of purism came an emphasis on studying composers` manuscript notations, a relatively new field of musicology that is flourishing even today.

Which of the following can be inferred from the passage about the compositions of Scarlatti?

正确答案: D 耗时:
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  • 当前版本由 tx要考普林斯顿 更新于2022-07-16 18:56:27 感谢由 tx要考普林斯顿 对此题目的解答所做出的贡献。

    Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti。这里说他们不是用piano而写的,甚至是Scarletti这个人。这里有一个强调,所以scarletti应该是为了钢琴之外的乐器作曲的

  • 当前版本由 tx要考普林斯顿 更新于2022-07-16 18:56:21 感谢由 tx要考普林斯顿 对此题目的解答所做出的贡献。

    Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti。这里说他们不是用piano而写的,甚至是Scarletti这个人。这里有一个强调,所以scarletti应该是为了钢琴之外的乐器作曲的

  • 当前版本由 长颈鹿在哪里呀 更新于2019-04-06 18:06:11 感谢由 长颈鹿在哪里呀 对此题目的解答所做出的贡献。

    定位回到文中One important figure to emerge in the period, though a harpsichordist rather than a pianist, was Wanda Landowska (1879–1959). She demonstrated how the keyboard works of Baroque composers such as Bach, Handel, Scarlatti, and Couperin probably sounded in their own times. 可知 Landowska 是一个harpsichordist而不是pianist,所以她列举的需要被人们听到的作品,包括Scarlatti,也不是钢琴曲。​

题目讨论 (如果对题目有任何的疑惑,欢迎在这里提出来,大家会帮你解答的哦~)

402940gagf

The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions of Baroque music originally written for the harpsichord-and piano performances of Bach and Scarlatti were,有矛盾吧,这里面提到了S和B两种乐器都有,选项说除了piano,这不对吧
0 0 回复
2023-06-06 17:58:56

1114876drc

信息1: Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti’s. 说明S的作品从属于Baroque music 信息2: Baroque music originally written for the harpsichord 说明Baroque music 开始不是写给piano的,因为是写给H的 推断: S属于B;B不是写给piano;那么S也不是写给piano,所以D选项正确
0 0 回复
2021-05-05 11:55:12
  • 328163awh 回复 328163awh

    请问信息2对应的那句话The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions of Baroque music originally written for the harpsichord-and piano performances of Bach and Scarlatti were,后面不是还有一个and piano performances吗

    0 0 回复
    2021-07-25 11:36:48
  • weigan610 回复 weigan610

    后面说的意思是钢琴版本的巴赫不过是transcription,无论钢琴和harp多相似。这和我们的Scarlatti是不是原先写给harp这件事没有关系。

    1 0 回复
    2023-01-12 06:21:00
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