Tagebuch 145 Stücke. Erweiterte Neuausgabe 2015 鋼琴獨奏 朔特版

Georg Kröll（生於 1934 年）曾師從弗蘭克-馬丁（Frank Martin）和貝恩德-阿洛伊斯-齊默爾曼（Bernd Alois Zimmermann）學習作曲，師從埃爾塞-施密茨-戈爾（Else Schmitz-Gohr，她本人也是馬克斯-雷格（Max Reger）的學生）學習鋼琴，還參加過普索、布列茲和馬德爾納的課程和講座。他的 "Tagebuch "由一系列鋼琴小品組成，這些小品的音符是根據勳伯格的《鋼琴組曲作品 25》中的十二個音符串聯起來的，並通過一系列的排列組合來完成。正如人們只要稍加想像，就能從雲層中看到圖畫，或從風雨侵蝕的岩石中辨認出人或動物的形狀一樣，任何特定材料中固有的聲音都會引發聯想。然後，這些聯想會結晶成一種靈感、一種結構、一種形式或一個和絃，讓人聯想到貝多芬、斯特拉文斯基的主題、杜菲的lausula、弗雷斯科巴爾迪的主題--一個想法逐漸成型。大量現存的素材激發了人們的想像力和某種發現的喜悅，而現存素材的外部限制則為內部的創造性探索提供了自由。'（格奧爾格-克羅爾）"

作曲家: Kroell, Georg
樂器: piano
出版社: Schott Music
原文簡介:
Georg Kröll (born 1934), studied composition with Frank Martin and Bernd Alois Zimmermann, piano with Else Schmitz-Gohr - herself a student of Max Reger -, he also attended courses and lectures by Pousseur, Boulez and Maderna. His ‘Tagebuch’ consists of a series of short piano pieces, their key notes are based on a twelve-note series from Schönberg’s Suite for Piano Op. 25 and are reached via a series of permutations. ‘Just as one can, with a little imagination, see pictures in cloud formations, or discern human or animal shapes in rocks weathered by the wind and the rain, so the sounds inherent in any given material trigger associations. These then crystallise into an inspiration, a structure, a form, or a chord reminiscent of Beet-hoven, a motif by Stravinsky, a clausula by Dufay, a theme by Frescobaldi - the gradual shaping of an idea. The great store of existing material inspires the imagination and a certain joy of discovery, while the external limitations of pre-existing material provide the freedom for internal creative exploration. This is how parodies, homages, paraphrases and quotes are created, shaped from blocks of sound, fragments and aphorisms.’ (Georg Kröll)