Colloque No. 5, op. 19 op. 19 雙鋼琴 朔特版

Colloque, colloquy 或 symposium，是伊拉斯謨（Erasmus）的用語，當然也是柏拉圖（Plato）和保羅-瓦雷裡（Paul Valéry）的用語。 在這部作品中，沒有人物之間的對話，而是樂器之間的對峙。 正因為如此，直到今天寫成的六部作品都使用了非常不習慣的樂器。 其中四首使用了鋼琴、管風琴和打擊樂等不同的樂器：這麼多相互矛盾的角色，每個都有自己的特點，堅定地表達著自己的想法，雖然也會相互影響。 例如，鋼琴將其打擊樂的力度傳遞給管風琴，而管風琴則將其穿透力和柔韌性以及聲音的廣度傳遞給鋼琴。在第 5 號專輯中，鋼琴和管風琴幾乎是踮著腳尖一起進入，但彼此並不知曉，它們猶豫不決，輕聲細語，就像兩個人在尋找對方，同時又在回避對方，並對對方的主張或斷言進行評論，整個過程中穿插著激烈的、有時是矛盾的插曲。 最後，一段精彩生動的默劇將他們聚集在一起，然後開場人物突然返回。 默劇再次出現，為這些對抗和修辭角鬥畫上句號"

作曲家: Guillou, Jean
樂器: piano and organ
出版社: Schott Music
原文簡介:
Colloque, colloquy or symposium, is a term used in reference to Erasmus, but of course also to Plato and, closer to us, Paul Valéry. In this piece, instead of characters who speak to each other, there are instruments that confront each other. Because of this reason the six colloques written until today are using quite unhabitual instruments. Four of them use instruments as diverse as the piano, the organ and percussion: so many contradictory personages, each with its own character, firmly setting forth their ideas, though having some influence on each other as well. The piano for example communicates its percussive force to the organ and the organ lends the piano its penetrating and pliable gentleness, as well as its breadth of sound.In this Colloque no. 5 the piano and organ, almost on tiptoes, enter together but unbeknown to each other, hesitantly, softly, like two people looking for each other and at the same time avoiding each other and commenting on each other's propositions or assertions, the whole interspersed with vigorous and sometimes contradictory episodes. FInally, a brilliant, lively pantomine brings them together before the opening figure suddenly returns. The pantomime reappears to form the conclusion to these confrontations and rhetorical jousts.