Post scriptum Sonata for violin and piano 席威斯特洛夫 奏鳴曲小提琴鋼琴 小提琴加鋼琴

西爾維斯特羅夫的小提琴奏鳴曲《Post scriptum》是他的另一首室內樂後奏曲。作曲家曾說過，作品的標題意味著它是莫札特和整個古典傳統的後記。文本已經寫好。我們只需添加注釋、思考、疑問、驚愕、驚訝和遺憾。古典音韻開始在其他時空飄蕩。不再有能力預測某物的含義，取而代之的是神秘的象徵意義（V. Silvestrov）。短短的三樂章奏鳴曲迴圈出現在持續數秒的沉默中。無法指出具體的模式。樂譜中反復出現的演奏記號leggiero、dolcissimo、in the distance 和 con moto（具有idée fixere的特徵），強化了這一真實音樂的想像特徵。隨著樂曲的發展，人們越來越難以感知傳統音型的輪廓。第二樂章中西爾維斯特羅夫獨具特色的行板動機仍占主導地位，而終曲卻已近乎不可聞。 塔蒂亞娜-弗魯姆基斯）

作曲家: Silvestrov, Valentin
樂器: violin and piano
出版社: M.P. Belaieff Musikverlag
原文簡介:
Silvestrov’s violin sonata “Post scriptum” is another of his chamber music postludes. The composer once stated that the title of the work signifies that it is “a postscript to Mozart and the whole classical tradition. The text has already been written. We simply add our annotations, thoughts, questions, consternation, astonishment and regret. The classical phonemes begin to waft through other times and spaces. There is no longer such a thing as the ability to predict what something means, and its place is taken by a mysterious symbolism.” (V. Silvestrov). A short three-movement sonata cycle emerges out of periods of silence lasting several seconds. It is impossible to point to a specific model. Classical idioms which have acquired the anonymous status of folklore hover in our minds, and the recurring performance marks in the score–“leggiero”, “dolcissimo”, “in the distance” and “con moto”, which has the character of an idée fixe–reinforce the imaginary character of this “real” music. As the piece progresses, it becomes increasingly difficult to perceive the contours of the traditional patterns. Whereas Silvestrov’s characteristic cantabile motives still predominate in the second movement, the finale already verges on inaudibility.” (Tatiana Frumkis)