6 Bagatelles 鋼琴三重奏 音樂小品

六首巴加泰勒舞曲》中找不到任何幽默的基調。隨後是極富表現力、佈局華麗的 "慢板小調"；簡潔的 "前奏曲"，其中巴托克或斯特拉文斯基式的活力打破了迴旋曲的輕盈；抒情敘事的 "梅西亞式""拉戈"；以及具有獨特音調效果的低沉、微妙的 "慢板"。整首樂曲的高潮是前奏曲--與前奏曲形成鮮明對比--其中的重複和動感與拉格泰姆形式相結合。雖然我們無法從大小調系統的意義上談論調性，但通過對和絃、和聲和旋律樂句的選擇，各個元素圍繞著一個確定的中心擺動。各部分的質地和形式來自於敘事方式和主題的演變。作曲家使用了所有音域的樂器，發音範圍廣，但目的並不是進行聲樂實驗，而是創造一種氛圍，通過這種氛圍來表達一種特定的情感"

作曲家: Górecki, Mikołaj
改編者: Kowalczyk, Marcin / Kubieniec, Jadwiga
樂器: violin, cello and piano
出版社: EUTERPE
原文簡介:
There's no humorous tone to be found in Six Bagatelles.The cycle opens with the spirited and bold Deciso. Following this come the expressive, splendidly laid-out Molto sostenuto; the concise Presto, in which the lightness of the scherzo is broken by a vitality in the style of Bartók or Stravinsky; the lyric-narrative, Messiaenic Largo; and the muted, subtle Lento with its unique tonal effects. The whole is crowned by Presto - decidedly contrasting with its antecedents - in which repetition and motility combine with ragtime forms. Although one cannot speak of tonality in the sense of the major-minor system, through choice of chords, harmonic and melodic phrases, individual elements oscillate around a defined centre. The texture and form of the parts derive from the manner of narration and evolution of motif-themes. The composer utilises the instruments in all registers and with a winde range of articulation - though the aim is not sonorstic experimentation but the creation of an aura through which to express a particular emotion.