Twelve Preludes op. 85 齊爾品．亞力山大 前奏曲 鋼琴獨奏

十二首前奏曲》（芝加哥，1952-53 年）生動清晰地展現了作曲家多方面的表現天才。每首前奏曲都是一個音樂實體，都有自己的'存在理由'，都有自己的音樂資訊。從整體上看，這十二首前奏曲構成了一部作品，其表現手法包羅萬象，涵蓋了所有的音樂理念；用阿爾弗雷德-弗蘭肯斯坦（Alfred Frankenstein）的話來說，這些理念是辛辣的、抒情的和音樂哲學的。所有的前奏曲都採用了不同的作曲形式；有些採用了 "嚴格 "的形式，有些則採用了自由、無拘無束或通過作曲的形式。在這十二首樂曲中，我們可以發現許多巧妙地運用了特切列普寧音樂中特有的風格化節奏模式和手法。這些樂曲源於特切列普寧的創作時期，許多人將這一時期稱為新浪漫主義時期，其中蘊含著豐富的歌唱性和旋律抒情性；但從本質上講，這些樂曲在風格和內容上都是新鮮的，完全'當代'的"

作曲家: Tcherepnin, Alexander
樂器: piano
出版社: M.P. Belaieff Musikverlag
原文簡介:
The Twelve Preludes (Chicago, 1952-53) show with vivid clarity the many-sided expressive genius of their composer. Each prelude is a musical entity, each has its own 'raison d'être', its own musical message. Taken as a whole, the twelve form a work with an exhaustive range of expression running the complete gamut of musical ideas; ideas which are, in the words of Alfred Frankenstein referring to these pieces, pungent, lyrical and musico-philosophic. All of the preludes are built in various compositional forms; some in 'strict' form, others in a free, unbounded or through composed form. Throughout the twelve pieces are found numerous clever uses of stylistic rhythmic patterns and devices which characterize Tcherepnin's music. The pieces stem from the period of Tcherepnin's composition which is designated by many as his neo-romantic period, and are rich in singing, melodic lyricism; yet they are in essence fresh and completely 'contemporary' in style and content.