spring 获取端口号:德国音乐家，韦伯是谁???

卡尔·马力亚·冯·韦伯

　　韦伯(Carl Maria Von Weber)德国作曲家（1786—1826），诞生在奥汀堡一个旅行剧团领班人的家庭。

　　他的父亲是业余小提琴家，母亲是歌唱家。成柏自幼学习音乐。十二岁时，他已有六首小赋格曲出版。十四岁，他创作的歌剧《森林女郎》上演。1804年，韦伯在布累斯劳市任指挥。1806年至1810年，又在卡尔斯鲁尔和斯图加特宫廷任职。从1813年起，韦伯在布拉格歌剧院任指挥。1817年，他来到德累斯顿，在德意志歌剧院担任常任指挥。1826年，韦伯应伦敦柯文特花园剧院创作歌剧《奥布朗》，并带病赴英都筹备歌剧上演，同年6月5日病逝于伦敦。

　　韦伯是德国浪漫派音乐的先行者。在他仅仅四十年的生涯中，创作了歌剧、合唱、歌曲、交响音乐、室内乐、钢琴曲等许多作品。他的单簧管协奏曲、钢琴曲《邀舞》，以及他根据德国诗人柯尔奈的诗集写作的爱国歌曲集《诗琴与宝剑》，都韦伯作品中深受欢迎、流传甚广的有名作品。在韦伯的歌剧作品中，《自由射手》、《奥布朗》和《优兰蒂》最为著名。《自由射手》以民同神话传说为题材，是韦伯歌剧中的代表作，曾被赞誉为德国的第一部民族歌剧。韦伯多才多艺。他不但作曲，而且创作小说。他的音乐评论，为德国民族歌剧和浪漫派音乐的兴起，宣传了进步的美学观点。

　　《自由射手》（又译“魔弹射手”）是浪漫派歌剧的典范，韦伯花费了三年的时间来完成这部综合性质的歌剧，他对当时通常的管弦乐配置作了部分动来配合歌剧的需要，在文字与舞台造型方面也精心打磨。韦伯在这部歌剧中运用的音乐独具特色，用圆号代表猎人，单簧管则代表黑猎人，而给予森林、狼谷的音乐充分体现了民族色彩。歌剧取材于德国文学家约翰·奥古斯特·阿贝尔编著的《德国鬼故事集》，脚本作者是约翰·菲德利希·金德，剧中黑猎人卡斯帕这一角色，是浪漫主义时期所推崇的黑色英雄的典型。

　　歌剧的序曲十分有名，常常在音乐会上作为单独曲目演奏，其以奏鸣曲形式开始，精炼

Andrew Lloyd Webber - Biography

b. 22 March 1948, London, England. The “Sir Arthur Sullivan” of the rock age was born the son of a Royal College of Music professor and a piano teacher. His inbred musical strength manifested itself in a command of piano, violin and French horn by the time he had spent a year at Magdalen College, Oxford, where he penned The Likes Of Us with lyricist (and law student) Tim Rice. As well as his liking for such modern composers as Hindemith, Ligeti and Penderecki, this first musical also revealed a captivation with pop music that surfaced even more when he and Rice collaborated in 1967 on Joseph And The Amazing Technicolor Dreamcoat, a liberal adaptation of the scriptures. Mixing elements of psychedelia, country and French chanson, it was first performed at a London school in 1968 before reaching a more adult audience, via fringe events, the West End theatre (starring Paul Jones, Jess Conrad and Maynard Williams), an album, and, in 1972, national television.

In the early 70s, Lloyd Webber strayed from the stage, writing the music scores for two British films, Gumshoe and The Odessa File. His next major project with Rice was the audacious Jesus Christ Superstar which provoked much protest from religious groups. Among the studio cast were guest vocalists Michael D’Abo, Yvonne Elliman, Ian Gillan and Paul Raven (later Gary Glitter ), accompanied by a symphony orchestra under the baton of André Previn - as well as members of Quatermass and the Grease Band. Issued well before its New York opening in 1971, the tunes were already familiar to an audience that took to their seats night after night as the show ran for 711 performances. A less than successful film version was released in 1973. After the failure of Jeeves in 1975 (with Alan Ayckbourn replacing Rice) Lloyd Webber returned to form with Evita, an approximate musical biography of Eva Peron, self-styled ‘political leader’ of Argentina. It was preceded by high chart placings for its album's much-covered singles, most notably Julie Covington ’s ‘Don’t Cry For Me Argentina’ and ‘Oh! What A Circus’from David Essex. Evita was still on Broadway in 1981 when Cats, based on T.S. Eliot's Old Possum’s Book Of Practical Cats, emerged as Lloyd Webber’s most commercially satisfying work so far. It was also the composer’s second musical without Rice, and included what is arguably his best-known song, ‘Memory’, with words by Eliot and the show's director, Trevor Nunn. Elaine Paige, previously the star of Evita, and substituting for the injured Judi Dench in the feline role of Grizabella, took the song into the UK Top 10. Subsequently, it became popular for Barbra Streisand, amongst others. With Song And Dance (1982), which consisted of an earlier piece, Tell Me On Sunday (lyrics by Don Black ), and Variations composed on a theme by Paganini for his cellist brother, Julian, Lloyd Webber became the only theatrical composer to have three works performed simultaneously in both the West End and Broadway. Two items from Song And Dance, ‘Take That Look Off Your Face’ and ‘Tell Me On Sunday’ became hit singles for one of its stars, Marti Webb. Produced by Cameron Mackintosh and Lloyd Webber’s Really Useful Company, it was joined two years later by Starlight Express (lyrics by Richard Stilgoe ), a train epic with music which was nicknamed ‘Squeals On Wheels’ because the cast dashed around on roller skates pretending to be locomotives. Diversifying further into production, Lloyd Webber presented the 1983 comedy Daisy Pulls It Off, followed by The Hired Man, Lend Me A Tenor and Richard Rodgers and Lorenz Hart’s On Your Toes at London’s Palace Theatre - of which he had become the new owner.

Like Sullivan before him, Lloyd Webber indulged more personal if lucrative artistic whims in such as Requiem, written for his father, which, along with Variations, became a best-selling album. A later set, Premiere Collection, went triple platinum. A spin-off from Requiem, ‘Pie Jesu’ (1985), was a hit single for Paul Miles-Kington and Sarah Brightman, the composer’s second wife. She made the UK Top 10 again in the following year, with two numbers from Lloyd Webber’s The Phantom Of The Opera (adapted from the Gaston Leroux novel), duetting with Steve Harley on the title theme, and later with Cliff Richard on ‘All I Ask Of You’. The original ‘Phantom’, Michael Crawford, had great success with his recording of another song hit from the show, ‘The Music Of The Night’. Controversy followed, with Lloyd Webber’s battle to ensure that Brightman re-created her role of Christine in the Broadway production in 1988. His US investors capitulated, reasoning that future Lloyd Webber creations were guaranteed box office smashes before their very conception. Ironically, Aspects Of Love (lyrics by Charles Hart and Don Black), which also starred Brightman (by now Lloyd Webber’s ex-wife), was rated as one of the failures (it did not recoup its investment) of the 1990/1 Broadway season, although it eventually ran for over 300 performances. In London, the show, which closed in 1992 after a three year run, launched the career of Michael Ball, who had a UK number 2 with its big number, ‘Love Changes Everything’. In April 1992, he intervened in the Tate Gallery’s attempt to purchase a Canaletto. Anxious, that it should remain in Britain, he bought the picture for ? million. He was reported as commenting ‘I’ll have to write another musical before I do this again’. That turned out to be Sunset Boulevard, a stage adaptation of Billy Wilder’s 1950 Hollywood classic, with Lloyd Webber’s music, and book and lyrics by Don Black and Christopher Hampton. It opened in London on 12 July 1993 with Patti LuPone in the leading role of Norma Desmond, and had its American premiere in Los Angeles five months later, where Desmond was played by Glenn Close. Legal wrangles ensued when Lloyd Webber chose Close to star in the 1994 Broadway production instead of LuPone (the latter is said to have received ‘somewhere in the region of $1 million compensation’), and there was further controversy when he closed down the Los Angeles production after having reservations about the vocal talents of its prospective new star, Faye Dunaway. She too, is said to have received a ‘substantial settlement’. Meanwhile, Sunset Boulevard opened at the Minskoff Theatre in New York on November 17 with a record box office advance of $37.5 million. Like Cats and The Phantom Of The Opera before it, the show won several Tony Awards, including best musical, score and book. Lloyd Webber was living up to his rating as the most powerful person in the American theatre in a list compiled by TheaterWeek magazine. His knighthood in 1992 was awarded for services to the theatre, not only in the US and UK, but throughout the world - at any one time there are dozens of his productions touring, and resident in main cities. Among his other show/song honours have been Drama Desk, Grammy , Laurence Olivier, and Ivor Novello Awards. Cats, together with Starlight Express and Jesus Christ Superstar, gave Lloyd Webber the three longest-running musicals in British theatre history for a time, before the latter show was overtaken by Les Misérables.. He is also the first person to have a trio of musicals running in London and New York. Jesus Christ Superstar celebrated its 20th anniversary in 1992 with a UK concert tour, and other Lloyd Webber highlights of that year included a series of concerts entitled The Music Of Andrew Lloyd Webber (special guest star Michael Crawford), a smash hit revival of Joseph And The Amazing Technicolor Dreamcoat at the London Palladium, and the recording, by Sarah Brightman and José Carreras, of Lloyd Webber and Don Black’s Barcelona Olympic Games anthem ‘Friends For Life’ (‘Amigos Para Siempre’).

Since those heady days, Lloyd Webber admirers have waited in vain for another successful theatrical project, although there has been no shortage of personal kudos. He was inducted into the Songwriters Hall of Fame, presented with the Praemium Imperiale Award for Music, became the first recipient of the ASCAP Triple Play Award, and in 1996 received the Richard Rodgers Award for Excellence in the Musical Theatre. In the same year a revised version of his 1975 flop, Jeeves, entitled By Jeeves, was well received during its extended West End season, but a new work, Whistle Down The Wind (lyrics: Jim Steinman, book: Patricia Knop), failed to transfer to Broadway following its Washington premiere. After being extensively re-worked, it arrived in the West End in 1998. A revival of Jesus Christ Superstar re-opened the old Lyceum, just off the Strand, and a film version of Evita, starring Madonna, was released, containing a new Lloyd Webber-Rice song, ‘You Must Love Me’, for which they won Academy Awards. Elevated to the peerage in 1997, Baron Lloyd-Webber of Sydmonton disclosed that the New York and London productions of Sunset Boulevard, which both closed early in that year, ‘lost money massively overall’, and that his Really Useful Group had reduced its staff and suffered substantial financial setbacks. On the brighter side, in January 1996 the West End production of his most enduring show, Cats, took over from A Chorus Line as the longest-running musical of all time, and in June 1997, the show’s New York production replaced A Chorus Line as the longest-running show (musical or play) in Broadway history. Early in 1998, Lloyd Webber was honoured with Variety ’s first British Entertainment Personality Of The Year Award.

韦伯
Carl Maria von Weber (1786．11．18～1826．6．5)
Weber，Carl Maria Ernst von 韦伯，卡尔·玛里亚·恩斯特·冯(1786—1826) 德国作曲家，指挥家，钢琴家，韦伯三姊妹(阿洛伊西亚、康斯坦策和约瑟法·韦伯)的堂兄弟。从父亲、J.P.霍伊什克尔和米夏埃尔·海顿学习，参加海顿指挥的萨尔茨堡唱诗班。1798年去慕尼黑深造后，作为钢琴独奏家在若干城镇演出，并写了第一部歌剧《森林少女》(弗赖堡，1800)。1803年定居维也纳，再从福格勒学习。1804—1806年任布雷斯劳剧院指挥，1807—1810年在斯图加特任符腾堡路德维希公爵秘书，1810年被符腾堡国王驱逐出境，迁往曼海姆，后又去达姆施塔特。数度从事巡回演出后于1813年在布拉格被任命为指挥，1816年任德累斯顿歌剧院指挥。最成功的作品为歌剧《自由射手》，1821年首演于柏林。1826年为演出他为科汶特花园剧院写的《奥伯龙》去伦敦访问，首演后不到八星期死于伦敦。韦伯是德国浪漫主义歌剧的创始者，他的《自由射手》是一部有说白的歌唱剧，在两个方面表现出德国民谣和德国农村的影响：朴实无华和神秘色彩。《欧丽安特》(维也纳，1823)是一部音乐持续不断的歌剧，虽失之于台本晦涩，却再现了中世纪骑土社会的气氛，可视为瓦格纳《罗恩格林》的先驱。韦伯的钢琴作品有丰富的想象和辉煌的技巧。其他歌剧包括《彼得·施莫尔》(1803)，《西尔瓦娜》(1810)和《阿布·哈桑》(1811)。尚作有合唱曲，交响曲两部，钢琴协奏曲两部，钢琴与乐队的《音乐会曲》一首，单簧管协奏曲两部，单簧管小协奏曲一部，钢琴奏鸣曲四首，许多钢琴曲和歌曲。撰有音乐论著，去世前曾着手写作小说《作曲家的一生》。

韦伯 Weber，Carl Maria von(1786．11．18～1826．6．5)
德国作曲家、钢琴家、评论家、歌剧导演。德国古典音乐过渡到浪漫主义时代的主要人物，被称为德国民族歌剧的先驱。作品《魔弹射手》(或《自由射手》，1821)是当时最成功的德国歌剧，开创了德国浪漫主义歌剧的先声。该剧的音乐与演出对后来的浪漫主义作曲家有极大的影响，其中包括门德尔松、柏辽兹、李斯特、瓦格纳等人。出身音乐、戏剧家庭，父为音乐家并组织了一个小型的旅行剧团。母为歌唱家，叔、姑、兄弟等都与音乐或舞台有关系。初露音乐天才时，雄心勃勃的父亲就在旅行演出期间让他投于各地教师门下学习，期望他能成为莫扎特式的神童。教师中有M.海顿。后师从福格尔继续学习。1804年，通过福格尔介绍，被任命为布雷斯劳市小乐队指挥。继而在符腾堡腓德烈一世宫廷里担任秘书，由于生活不检点并债台高筑，在短暂监禁后被驱逐出境。父子二人逃至曼海姆，在此结识了许多有影响的艺术家。儿子也表现出是一个天才的钢琴家与吉他演奏家，对于浪漫主义运动的理论也卓有见识。1809～1818年之间他还写了相当数量的评论、诗歌以及毫不调和的、严厉的音乐批判文章。其所有作品，不论音乐还是评论都进一步阐明浪漫主义作为艺术的这种理想：感情重于形式，心灵先于理性。1813及1817年分别任布拉格歌剧院指挥和德累斯顿德国歌剧院的导演，对歌剧演出的各个方面都全面控制：剧目、吸收新成员、选派角色、布景、灯光、直至演出以及管弦乐队和歌唱者等事宜都过问，尤其注意要使每个表演者对每部歌剧的台词和剧情都有充分的了解。这些工作占去他很多时间，使他几乎无暇作曲。但1819年他还是写下了著名的《邀舞》和《音乐会短曲》(1821)。《魔弹射手》也是这期间的作品，1821年在柏林上演时使他一举成名，从而成为民族英雄