一. 开场白(Opening remarks)
这里谈的是古典音乐。对古典音乐没有兴趣的人，不必阅读此文。
1. ABA 三段体音乐结构
被称为ABA三段体的音乐形式，是音乐中最常见的结构形式。在我们所接触到的器乐作品中，特别是古典音乐作品，绝大部分都是采用了这种形式，热爱古典音乐的人对此一定不陌生。
并没有任何音乐理论要求作曲家必须要用三段体的结构形式来创作，然而所有伟大的作曲家都不约而同地在创作中经常使用三段体的音乐结构。究其原因，大概是因为这种形式反映了人类对音乐结构最自然的感觉，
是音乐美学最合符逻辑的结构形式。
三段体音乐结构中，一般来说，第一段显示一个主题（A），第二段则和第一段形成强烈对比（B），第三段又回复和发展第一段的主题（A）。
三段体音乐结构有点像人们外出旅游的经历。旅游开始的时候，准备，出行，新鲜感，使人有一种开始一段新生活的激动的感觉，这有点像一部音乐作品的第一乐章，它提出主题，展现主题，规划了全曲的格调和意境，
一般有较明快的速度和较复杂的旋律。接下来，旅游者深入到某个地区或城市中，他思考，对比，细致地感受，他行为的节奏会慢下来，而属于个性的感受和思考会显现出来，这就有点像音乐第二乐章的慢板。旅游最后的时光，
思归，总结，另一次的规划，使人的心绪又开始激动，似乎以另一种形式回到了初到时的情绪和感觉。
三段体音乐有乐章结构的三段式， 和乐曲结构的三段式。
乐章结构的三段式是针对多乐章作品而言，如交响乐，协奏曲，奏鸣曲。乐章结构的三段式音乐中，在速度，调性，基本旋律等音乐元素方面，它们的各个乐章之间有很明显的区别，这是很容易辨别出来的。
乐章结构的三段式音乐中，第一乐章，有点像作者穿着西装礼服，向你介绍作品的概貌和主题思想；第二乐章，作者身着便服，委婉地向你袒露心声；到了第三乐章，那一般是显示技巧（作曲技巧，演奏技巧）的时候，
用音量，速度把乐曲的情绪推向高潮。
乐曲结构的三段式则是在单一的一段乐曲中以乐段的形式表现出来的，甚至很短的乐曲也使用这种结构来丰富其表现力。例如大提琴独奏曲《天鹅》这段不长的乐曲，也使用了三段式的乐曲结构。
2. 第二乐章的魅力
大部分古典音乐第二乐章的特点是，缓慢，和抒情。
慢，使人有时间和精力来欣赏音乐的细节，感受作者及演奏者所表达的比较深刻的情绪。研究表明，接近人心跳速度（每分钟60 – 70拍）的音乐是最能令人感到舒适的，而这个节奏正是音乐中大多数慢板（Adagio）的速度范围。
根据我自己的感受，观察，和阅读，长期地频繁地欣赏音乐的人，更喜欢那种深沉的心灵对话，人性的发掘，委婉而深刻的情绪抒发，和可以追随的发人深省的思考，这恰恰是大多数第二乐章所具有的情绪。
当欣赏音乐是你日常活动的一部分时，你大概不会更多地去追求激昂，新奇，戏剧色彩，和炫耀技巧，不会让定音鼓的激情，大音量的和声，一秒钟30个音符的快速流动，无时无刻地萦绕着你。
3. 为什么选这些曲子
感人心灵的第二乐章音乐太多了，就在无标题西洋古典音乐如交响乐，协奏曲，奏鸣曲，舞曲等等乐曲形式中，都有无数这样的作品。在这些不同形式的音乐作品中，我更钟情于协奏曲。
协奏曲是由一种乐器独奏（也有两种，三种乐曲合奏的协奏曲，但那样的作品数量极少）和整个交响乐队协奏的乐曲形式。在这样的作品中，你可以欣赏到个体的表达和群体的“交响”。前者因为是一个演奏者面对听众的表达和倾谈，
更能体现人的心灵和个性，后者则营造出个体在这个世界中所能体验到的变化无穷的气氛和场景。这种音乐形式比交响曲更个性化，但不失其强大的变化和描述能力。
就独奏乐器而言，世界上最具表现力的三种乐器是钢琴，小提琴，和大提琴，百分之八十以上的协奏曲是为这三种乐曲而创作。研究表明，所有协奏曲作品中，有40-50%为钢琴而作，30-35%为小提琴而作，10-15%为大提琴而作。
我选择了这三种乐器所演奏的一些最著名的协奏曲作品的第二乐章，放在我个人网站的服务器中，方便自己随时随地可以欣赏。我之所以写下这篇短文，连同所选的作品放在朋友圈，为的是使与我有同感的友人也得到方便，
世界上还有多少比这更美好的东西？
------------English Version ---------------
This is about classical music. People who are not interested in classical music do not need to read this article.
1. ABA three-part musical structure
The musical form known as the ABA three-part form is the most common structural form in music. Most of the instrumental works we have come into contact with, especially classical music works,
use this form. People who love classical music must be familiar with it.
There is no music theory that requires composers to use the three-part structure to create music, but all great composers often use the three-part music structure in their creations.
The reason is probably because this form reflects the most natural feeling of human beings about music structure and is the most logical structure form of music aesthetics.
In a three-part musical structure, generally speaking, the first part shows a theme (A), the second part (B) forms a sharp contrast with the first part, and the third part responds to
and develops the theme of the first part (A).
The three-part music structure is a bit like people's experience of traveling. At the beginning of the trip, preparation, travel, and freshness make people feel excited about starting a new life.
This is a bit like the first movement of a musical work, which proposes the theme, presents the theme, and plans the style and artistic conception of the whole musical piece. And this part
generally has a faster speed and more complex melody. Next, the tourist goes deep into a certain area or city, he thinks, compares, and feels carefully. The rhythm of his behavior will slow down,
and the feelings and thoughts belonging to his personality will appear, which is a bit like the slow movement of the second movement of the music. The last moment of the trip, thinking about home,
summarizing, and planning another trip, make people's hearts begin to get excited again, as if they have returned to the emotions and feelings when they first arrived in this trip.
Three-part music has two types: the three-part movement structure and the three-part composition structure.
The three-part movement structure is for multi-movement works, such as symphonies, concertos, and sonatas. In the three-part movement structure, there are obvious differences between the
various movements in terms of speed, tonality, basic melody and other musical elements, which are easy to distinguish. In the three-part movement structure, the first movement is a bit like the
author wearing a suit and introducing the general outline and theme of the work to you; the second movement is the author wearing casual clothes and euphemistically revealing his true feelings
to you; in the third movement, it is generally the time to show skills (composition skills, performance skills), using volume and speed to push the mood of the music to a climax.
The three-part structure of a piece of music is expressed in the form of a musical segment in a single piece of music. Even very short pieces of music use this structure to enrich their
expressiveness. For example, the short cello solo "Swan" also uses a three-part structure.
2. The charm of the second movement
The second movement of most classical music is characterized by being slow and lyrical.
Slow music gives people time and energy to appreciate the details of the music and feel the deeper emotions expressed by the author and performer. Studies have shown that music that is close
to the heartbeat speed (60-70 beats per minute ) is the most comfortable, and this rhythm is exactly the speed range of most adagios in music.
According to my own feelings, observations, and readings, people who appreciate music frequently and for a long time prefer the kind of deep soul dialogue, the exploration of human nature,
the euphemistic and profound emotional expression, and the thought-provoking thinking that can be followed, which is exactly the emotion of most second movements. When appreciating music is
part of your daily activities, you probably won't pursue excitement, novelty, dramatic color, and show off skills more, and you won't let the passion of timpani, loud harmony, and the rapid
flow of 30 notes per second linger around you all the time.
3. Why choose these pieces
There are so many soul-touching second-movement pieces, including countless untitled Western classical music, such as symphonies, concertos, sonatas, dances, etc. Among these different forms
of music, I prefer concertos.
A concerto is a musical form in which a solo instrument (there are also concertos with two or three musical pieces, but such works are very rare) and the entire symphony orchestra play together.
In such works, you can appreciate the individual expression and the group "symphony". The former, because it is a performer's expression and conversation with the audience, can better reflect
a person's soul and personality, while the latter creates an infinitely changing atmosphere and scene that an individual can experience in this world. This form of music is more personalized
than a symphony, but it does not lose its powerful ability to change and describe.
In terms of solo instruments, the three most expressive instruments in the world are piano, violin, and cello, and more than 80% of concertos are written for these three instruments. Research
shows that of all concerto works, 40-50% are written for piano, 30-35% for violin, and 10-15% for cello.
I have selected the second movements of some of the most famous concertos played by these three instruments and put them on the server of my personal website so that I can enjoy them anytime
and anywhere. The reason why I wrote this short article and put it on WeChat Moments with the selected works is to make it convenient for friends who share the same feelings as me.
How many more beautiful things are there in the world for a person?
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二. 第二乐章音乐会钢琴作品(Second Movement Concert Piano Works)
1. 贝多芬第5钢琴协奏曲（《皇帝》），第2乐章：稍微粗糙的慢板
Beethoven Piano Concerto No. 5 in E-Flat Major, Op. 73 - II. Adagio un poco mosso
2. 格里格A小调钢琴协奏曲，第2乐章：慢板
Grieg Piano Concerto in A Minor, Op. 16 II. Adagio
3. 柴可夫斯基第1钢琴协奏曲，第2乐章：简单的行板，急板
Tchaikovsky Piano Concerto No. 1 In B Flat Minor, Op. 23, TH.55 II. Andantino semplice - Prestissimo - Tempo
4. 勃拉姆斯第1钢琴协奏曲，第2乐章：慢板
Brahms Piano Concerto No. 1 in D Minor, Op. 15 II. Adagio
5. 拉赫玛尼诺夫第2钢琴协奏曲，第2乐章：延绵的慢板
Rachmaninoff Piano Concerto No. 2 in C Minor, Op. 18 II. Adagio sostenuto
6. 普罗科菲耶夫第3钢琴协奏曲，第2乐章：变幻的主题
Prokofiev Piano Concerto No. 3 in C Major, Op. 26 II. Tema con variazioni
7. 莫扎特第20钢琴协奏曲，第2乐章：浪漫主题
Mozart Piano Concerto No. 20 in D Minor, K. 466 II. Romance
8. 肖邦第1钢琴协奏曲，第2乐章：动感
Chopin Piano Concerto No.1 in E Minor, Op.11 II. movement
9. 拉威尔G大调钢琴协奏曲，第2乐章：非常缓慢
Ravel Piano Concerto in G Major, M. 83 II. Adagio assai (Live)
10. 舒曼A小调钢琴协奏曲，第2乐章：优雅飘然的插曲
Schumann Piano Concerto in A Minor, Op. 54 II. Intermezzo. Andante grazioso
（2024年5月）