Show-Case Five Piano Pieces 齊爾品．亞力山大 鋼琴小品 鋼琴獨奏 博浩版

所有巴黎藝術界人士都知道阿莫斯夫人，她是當代繪畫、藝術，尤其是音樂的偉大贊助人。她收藏的繪畫和藝術品舉世聞名。她的興趣和主動性促成了許多藝術作品的誕生。特切列普寧希望用音樂表達他對阿莫斯夫人陳列櫃中的小雕像的印象。這首樂曲創作於 1946 年，由五個樂章組成。第一樂章的靈感來自於陳列櫃中的一組玻璃微型灰狗，它們矗立在一頭巨大的瓷奶牛旁邊。這種對比激發了作曲家的靈感。在生活中，我們的熱情常常會被像奶牛一樣平和的東西所阻撓！第二樂章展現的是螃蟹。我們可以想像兩隻螃蟹從遠處看到對方，然後向後靠近。有兩個版本：一個是兒童版本，螃蟹互相吞噬（這符合動物學規律）；另一個是成人版本，我們留給他們想像的空間，這同樣符合自然規律。假設發生的是第二種情況，那麼螃蟹旁邊的青蛙就會開始說閒話，從而醜化展櫃裡的所有生物。特切列普寧宣稱，這只大瓷鹿即使不是阿莫斯夫人收藏中最美的作品，也是最美的作品之一。特切列普寧在欣賞這只鹿時想起了一件事：戰前，他在奧地利瑪麗亞采爾附近的哈根古特森林裡的朋友阿爾弗雷德-馮-波拉達的莊園裡度過了幾天假期。平靜地走在森林裡的特切列普寧突然發現自己面前有一頭鹿正朝自己的方向走來。兩人都停了下來，凝視著，但只有幾秒鐘。多虧了音樂，我們才知道特切列普寧的想法，但我們永遠不會知道鹿的想法，鹿迅速地逃走了"

作曲家: Tcherepnin, Alexander
樂器: piano
出版社: Boosey & Hawkes

曲目:
The Greayhounds and the Cow - The Crabs - The Frog - The Weasel - The Deer

原文簡介:
All artistic Paris knows Madame Amos, a great patron of contemporary painting, of art in general and music in particular. Her collection of paintings and objects d'art is world famous. Her interest and initiative are responsible for the creation of many works of art. Tcherepnin wanted to express in music his impressions of the figurines in Madame Amos' show-case, which was composed in 1946 and consists of five movements.The first movement is inspired by a group of miniature greyhounds in glass, which in the show-case stands next to a massive porcelain cow. the greyhounds are full of action, whilst the cow is placid. This contrast inspired the composer. How often in life is our enthusiasm thwarted by something as placid as a cow!The second movement presents the crabs. We can picture two crabs seeing one another from afar and approaching each other backwards. There are two versions: one for the children wherein the crabs devour one another (which is true to zoological law), the other for adults, which we leave to their imagination, and which is equally faithful to the laws of nature. Assuming that the second version takes place, the frog which is next to the crabs begins to gossip, thus scandalizing all the creatures in the show-case. The uproarious noise of the poultry, followed by the scurrying of the weasel provides the rhythm for the fourth movement.Tcherepnin declares that the big porcelain deer is one of the most beautiful pieces, if not the most beautiful, in Madame Amos' collection. The contemplation of the deer reminded Tcherepnin of an incident which he relates; it was in Austria in the forest of Hagengut near Mariazell where, before the war, he spent a few days' holiday on the estate of his friend, Alfred von Porada. Walking peacefully in the forest Tcherepnin suddenly found himself confronted by a deer advancing in his direction. Both stopped and stared, but only for a few seconds. Thanks to the music we shall know the thoughts of Tcherepnin, but we shall never know those of the deer, which swiftly fled.