Melos 狄奧多拉奇斯 鋼琴獨奏 朔特版

這部作品以兩部歌曲集《Lyrikotera》（根據 Dionysis Karatzas 的詩歌改編，1995 年）和《Lyrikotata》（根據 Yiannis Theodorakis 的詩歌改編，1996 年）為基礎。作曲家與兩位鋼琴家 Themis Simvoulopoulos 和 Tatiana Papageorgiou 合作創作了鋼琴曲的最終版本。這兩部作品的標題表明，這些作品創作于作曲家的抒情時期，因此他將 1986 年以後的所有作品都稱為 "內部抒情體驗 "的一部分。在此期間，他創作了近期最重要的三部作品，即抒情悲劇（歌劇）《美狄亞》、《伊萊克特拉》和《安提戈涅》。他的 12 首鋼琴'梅洛斯'既是對神話中旋律形象梅洛斯的致敬，也是對它的敬意。《普雷盧德》鋼琴曲部分的音樂語言以簡潔和克制為特點，而《梅洛斯》--音樂思想以層疊的和絃和節奏為裝飾--則標誌著作曲家向浪漫主義時期的鋼琴語言的回歸"

作曲家: Theodorakis, Mikis
樂器: piano
出版社: Schott Music
原文簡介:
This work is based on two song cycles, ‘Lyrikotera’ (to poems by Dionysis Karatzas, 1995) and ‘Lyrikotata’ (to poems by Yiannis Theodorakis, 1996). The composer created the final version for piano in collaboration with the two pianists Themis Simvoulopoulos and Tatiana Papageorgiou. The titles of the two cycles indicate that these works were created during the composer’s lyrical period which led to him designating his entire output from 1986 onwards as part of his ‘interior lyrical experience’. During this period he composed his three most significant recent works, the lyrical tragedies (Operas) Medea, Electra, and Antigone. His 12 ‘Melos’ for Piano are both tribute and homage to Melos, the mythological figure of melody.Whereas the musical language in the piano part of the Préludes is characterized by sobriety and restraint, Melos - where the musical ideas are ornamented with cascades of chords and rhythms - signifies the return of the composer to the pianistic language of the Romantic period.