霍洛维茨二次改编曲中的真实性偏离与个性化风格研究

Research on the Authenticity Deviation and Personalized Style in Horowitz’s Second Adaptation: Taking the Piano Piece Danse Macabre as an Example

20 世纪音乐表演风格趋势形成了从RMP、MSP 和HIP 的发展趋势，在趋势发展过程中的部分演奏家呈现特殊个性化风格选择。笔者以霍洛维茨对李斯特《骷髅之舞》改编曲版本，进行二次改编的钢琴曲为例进行研究，从作曲家真实性偏离、个人风格极端表现、自我声音表达与评价两极分化等角度，探寻其非MSP、HIP 风格，与个人风格的极端化表现，并最终以表演实践争议关照此种表现，并构建出霍洛维茨的音乐表演风格选择。

The evolution of music performance styles in the 20th century gave rise to trends stemming from RMP, MSP, and HIP. Within this evolution, certain performers exhibited distinctive and personalized style choices. Using Horowitz’s reimagined version of Liszt’s Danse Macabre as a case study in piano music, the author delves into aspects such as the composer's departure from authenticity, the extreme manifestation of personal style, the dichotomy in self-expression and evaluation. By examining his departure from the conventional MSP and HIP styles, along with the intense expression of his unique style, the exploration culminates in an examination of the controversy surrounding these expressions in performance practice, ultimately shaping Horowitz's music performance style preferences.