Point Forms' (after Kandinsky) 豎笛 1把以上加鋼琴 朔特版

點的形式 "是由瓦西裡-康定斯基（Wassily Kandinskys）的《點、線和平面》一書中的一組五幅圖提出的。康定斯基對幾何圖形的許多解釋，包括對stippled（點狀）、sprayed（噴射）和compact（緊湊）等詞的使用，都建議用音樂的方式來積累質感；線條的發展和處理，例如一個想法與前一個想法暫時交織在一起，讓形式決定其自身的有機發展。低音單簧管的音域比普通 A 級單簧管的音域更寬，在為低音單簧管的特殊音質而創作時，樂曲的結構允許各種音色和擴展效果隨著情緒和氣勢的變化而凸顯出來。音樂敘事或靜止或前行，或俏皮、或激昂、或哀鳴，通過抽象的路徑來傳達一種內在美和內在的必要性。作品中的演奏過程經常在單線或兩位演奏者之間重複，變化多端，這與康定斯基的主張不謀而合：將點轉化為線的外來力量可以是多種多樣的。點的形式 "由拉什沃斯信託基金會委託創作，並滿懷深情地獻給馬克-辛普森。肯-赫斯基（2010 年

作曲家: Hesketh, Kenneth
樂器: basset clarinet in A or clarinet in A and piano
出版社: Schott Music
原文簡介:
Point forms' was suggested by a group of five diagrams found in Wassily Kandinsky’s book Point and Line and Plane. Many explanations of the geometric shapes, including Kandinsky’s use of the words ‘stippled’, ‘sprayed’ and ‘compact’ suggested musical ways to amass textures; line development and manipulation, for example by the interleaving of one idea temporarily intertwined with a previous one, allow the form to determine its own organic development. In writing for the specific quality of the basset clarinet, which extends the pitch range of the normal A clarinet, the structure of the piece allows various timbres and extended effects to come to prominence as mood and momentum change. Static or forward-moving, playful, aggressive or wailing, the musical narrative seeks through abstract paths to communicate an ‘inner beauty’ as well as ‘inner necessity’. Processes in the work are often varied as they are repeated, in a single line or between the two performers, echoing Kandinsky’s proposition that ‘forces coming from without, which transform the point into a line, can be very diverse indeed. 'Point forms' was commissioned by the Rushworth Trust, and is dedicated with affection to Mark Simpson. Ken Hesketh (2010)