約克·鮑文（1884-1961）幼年從母親學鋼琴，後進入皇家音樂學院學習，並很快成為優秀

的音樂會鋼琴家，1909 年任皇家音樂學院教授。一戰期間參加軍樂團到法國演出，回國
後一直從事教學工作，晚年曾錄下一些有價值的唱片。鮑文生前和當時樂壇上的許多著名
人物關係密切，如西蓋蒂，漢斯•里赫特，弗里茨•克萊斯勒等。約克·鮑文的早期作品中
提琴與鋼琴奏明曲 F 大調第 2 號，作品 22 是為英国中提琴家莱昂内尔．特帝斯所創作，
約克·鮑文的中提琴與鋼琴奏明曲 F 大調第 2 號第一樂章歡快並帶有動感，鋼琴先開始兩
小節的前奏，之後中提琴進入優美而廣闊的主旋律，並帶點嬉喜的感覺。第二旋律也是在
這種感覺下進行，至到樂曲中段發展為更有動感和激昂的旋律，第一樂章於主旋律中結束。
第二樂章跟第一樂章形成強烈的對比，此樂章分為三部分，一開始為非常憂傷沉穩的旋律，
樂章中為歡快樂觀的感覺，節奏也較輕快，樂章的尾部由激昂慢慢回到原本沉穩的旋律，
整個樂章由莊嚴既竹穩慢的旋律下結束。

York Bowen's early works, the Sonata No. 2 in F Major, Op. 22 for viola and piano was
completed shortly after his Sonata No. 1. Sonata No. 2 is lighter in style in the first and third
movements and more reflective in the second movement than in those of his Sonata No. 1. But
like the first, this work was composed for and played by the violist, Lionel Tertis.

Like the Sonata No. 1, Sonata No. 2 begins with a two-measure introduction in the piano with
the first theme beginning in the viola part in the third measure. Written in 3/4 meter, the
movement begins with an expansive and lyrical first theme. While not aggressive, the first theme
is still animated and provides a feeling of playfulness. The second theme continues this
impression through the rest of the exposition, while becoming more motivic. Bowen experiments
with the first and second themes beginning in m. 143 with the Development, becoming even
more animated throughout the section. He begins the Development sections marked dolce and
grazioso, continuing the mood from the Exposition, but ends with a section marked appassionato
which builds in intensity until the transition to the Recapitulation. During the Recapitulation,
Bowen restates the main themes but then makes a short detour to F minor before ending with one
last statement of the first theme. The second movement is in three sections. The first section
begins in 4/4 in a very somber mood. The opening tempo is marked Grave and begins in the 31
low register of the viola. The intensity of the Grave section eventually gives way to a lighter,
more optimistic impression beginning with the section marked Poco animato. The character also
changes at this point when the piano part changes to a triplet feel with the new meter (12/8) 4/4.
The viola part moves from the low register to playing delicate notes above the treble clef. This
expansive feel gains motion through the use of triplets and speeds up to an Allegro. After the
middle section, Bowen restates the opening theme but soon moves to an Agitato section before
ending with a Tranquillo section in the opening key.

悲歌，為中提琴和鋼琴 作品 30 Elegie for Viola and Piano, Op. 30

作曲家亨利·維厄唐 Henri Vieuxtemps (1820-1881） 是十九世紀比利時小提琴奇才及作曲
家，曾任職聖彼得堡宮廷，也擔任過布魯塞爾音樂院教授，其超卓技巧在當代足以跟帕格
尼尼、史波和維奧提相提並論。維厄唐小時候也是一位音樂神童，六歲就舉行了他第一場
公開的小提琴演奏會。他師從雷克洛斯、迪瓊克、白理奧等三位大師，14 歲在維也納獨
奏貝多芬小提琴協奏曲一鳴驚人，成為舉世聞名的大師。
他的著名中提琴作品《悲歌》為中提琴和鋼琴曲，於 1854 年出版。樂曲一開始由鋼琴去
確立了憂傷的情緒，中提琴獨奏進入淒美的旋律，其間並奏出帶華彩性的樂句，歡闊而深
沈，結尾的部分卻是充滿著炫耀而扣人心弦的樂段，整個樂曲於激動且悲憤的情緒下完結。

該 ElégieF 小調，作品 30，打進了中提琴大提琴或鋼琴，出版於 1854 年開幕的鋼琴和弦

建議以後從福萊，伴奏一段淒美的歌聲旋律，熟悉的一種情緒之後，在中提琴華彩招待員
更大的活性的平坦主要通道，接著是開口的返回，導致炫耀的表現的結局
The Elégie in F minor, Opus 30, scored for viola or cello and piano, was published in 1854. The
opening piano chords suggest a mood later familiar from Fauré, an accompaniment to a poignant
singing melody, after which a viola cadenza ushers in an A flat major passage of greater activity,
followed by the return of the opening, leading to a bravura ending.