Trumpet Sonata after Richard Strauss 史特勞斯理查 小號奏鳴曲 小號 1把以上加鋼琴 博浩版

如果說現代有哪位作曲家的奏鳴曲或協奏曲是器樂演奏家們夢寐以求的，理查-施特勞斯一定名列前茅。他的管弦樂和歌劇創作範圍廣泛，為每種樂器都寫下了光彩奪目的慣用曲目，但只有鋼琴、小提琴、單簧管（與巴松管合作）、雙簧管和圓號能真正稱得上是作曲家筆下的定制獨奏曲，而它們加在一起也只占作曲家作品的一小部分。這首理查-施特勞斯的三樂章奏鳴曲並非簡單的抄襲，它不僅是作曲家為適應新的音樂風格而重新創作的作品，還填補了小號演奏家在 "嚴肅 "的後期浪漫主義獨奏曲素材方面的空白，既可整體演奏，也可作為 "三部曲"（Drei Konzertstücke）演奏。湯瑪斯-奧勒（Thomas Oehler）和喬納森-弗裡曼-阿特伍德（Jonathan Freeman-Attwood）從施特勞斯的眾多作品中汲取靈感，創作了這一新作品，其中包括小提琴奏鳴曲、Von den Hinterweltlern（《查拉圖斯特拉如是說》）、管樂小夜曲（《來自廢人作坊》）以及澤爾賓內塔的詠歎調（《納克索斯的阿裡阿德涅》）

作曲家: Strauss, Richard
校訂者: Attwood, Jonathan / Oehler, Thomas
樂器: trumpet (in Bb or C) and piano
出版社: Boosey & Hawkes
原文簡介:
If there was ever a composer in the modern era from whom instrumentalists would hanker for a sonata or concerto, Richard Strauss must be right up there. His wide-ranging orchestral and operatic creations bleed with gloriously idiomatic writing for every instrument, and yet only the piano, violin, clarinet (in tandem with the bassoon), oboe and horn can really claim to have bespoke solo works from the composer’s seamlessly productive pen, and collectively they form only a small proportion of the composer’s output. No mere transcription, this three-movement Sonata after Richard Strauss extends well beyond a redeployment of the composer’s music to fit a new idiom, filling the gaping chasm of ‘serious’ late-Romantic recital material for trumpet players, to be performed in toto or as Drei Konzertstücke. Thomas Oehler and Jonathan Freeman-Attwood have drawn on a wide range of Strauss’s works to create the new offering, including the Violin Sonata, Von den Hinterweltlern (Also sprach Zarathustra), the Serenade for Winds (‘From an invalid’s workshop’) and Zerbinetta’s Aria (Ariadne auf Naxos).The publication includes parts for trumpet in B flat and in C.