Fantasia 7 after Henry Purcell 幻想曲

喬治-本傑明（George Benjamin）對亨利-珀塞爾（Henry Purcell）的第 7 號《幻想曲》（1680 年 6 月 19 日）進行了精湛的改編，將樂曲升調了五度，改為 G 小調；除此之外，一個音符都沒有改動。為了與鋼片琴空靈的音色相匹配，其他樂器的演奏自始至終都非常安靜；單簧管演奏家被要求發出被稱為 "回音 "的非常純淨的聲音，而小提琴和大提琴則幾乎完全限於和聲和撥弦。這首 5 分鐘的樂曲在形式上由五個短小的'樂章'組成：緩慢的協奏曲式開場，然後是一個較快的樂段；一個中心和絃段落；第二個快速的協奏曲式段落和一個簡短緩慢的尾聲"

作曲家: Benjamin, George
樂器: Clarinet, Violin, Cello, Celesta
出版社: Faber Music
原文簡介:
In George Benjamin’s masterful transcription of Henry Purcell’s Fantazia No.7 (19 June 1680) the music is transposed up a fifth into G minor; otherwise not a note is altered. To match the celeste’s ethereal timbre the other instruments play very quietly throughout; the clarinettist is asked to produce that very pure sound known as ‘echo tone’, while the violin and cello are confined almost entirely to harmonics and pizzicato. This 5-minute piece has a formal scheme of five short ‘movements’: a slow contrapuntal opening, giving way to a faster-moving section; a central chordal passage; a second fast contrapuntal section and a brief slow coda. ‘The Fantasia sounded completely unusual in Benjamin’s adaptation: strange, lacerated and frayed. Wonderful evidence of Purcell’s modernity.’ Die Welt (Stephan Hoffmann), 22 March 1996