Piano Concerto Chiavi in Mano 鋼琴協奏曲
作曲家注：為波士頓交響樂團創作鋼琴協奏曲的想法是由偉大的莫札特學者和鋼琴家羅伯特-列文（Robert Levin）提出的。這個想法顯然得到了波士頓交響樂團藝術總監托尼-福格（Tony Fogg）的贊同和音樂總監詹姆斯-萊文（James Levine）的支持。這首協奏曲的大部分內容是 2004 年夏天在羅馬美國學院的一個隱蔽工作室裡創作的。雖然大部分作曲都是在遠離家鄉的地方進行的，但這首協奏曲卻顯得特別 "美國"，充滿了鄉土氣息。在我的許多作品中，簡單、熟悉的音樂理念是起點。一個形狀、一個旋律片段、一個節奏、一個和絃、一種質地或一種音色都可能點燃探索的欲望。如何改變、闡述、延伸和組合這些簡單而微不足道的事物，成為作曲過程中令人興奮的挑戰。我還希望完成後的作品能以自然的方式呼吸，自發、有機地發展，以我開始創作時無法想像的方式實現音樂實質的轉變。轉變是我們的目標，目的是實現我無法實現的感知和接觸狀態的改變。協奏曲的標題 "Chiavi in mano "是義大利汽車銷售員和房地產經紀人的口頭禪：買下房子或汽車，鑰匙就是你的。不過，這個標題更貼切的原因是，鋼琴寫作的目的是 "手到擒來"，無論多麼困難，都能保持身體舒適，毫無壓力。換句話說"琴鍵在手"。耶胡迪-懷納，2004 年 12 月 13 日
作曲家: Yehudi Wyner
樂器: Orchestra;Piano
出版社: Associated Music Publishers, Inc.
原文簡介:
Composer note: The idea for a piano concerto for the Boston Symphony was instigated by Robert Levin, the great Mozart scholar and pianist. The idea was evidently embraced by BSO Artistic Administrator Tony Fogg and supported by Music Director James Levine. Much of the concerto was composed during the summer of 2004 at the American Academy in Rome in a secluded studio hidden within the Academy walls. While much of the composing took place far from home, the concerto comes out as a particularly “American” piece, shot through with vernacular elements. As in many of my compositions, simple, familiar musical ideas are the starting point. A shape, a melodic fragment, a rhythm, a chord, a texture, or a sonority may ignite the appetite for exploration. How such simple insignificant things can be altered, elaborated, extended, and combined becomes the exciting challenge of composition. I also want the finished work to breathe in a natural way, to progress spontaneously, organically, moving toward a transformation of the musical substance in ways unimaginable to me when I began the journey. Transformation is the goal, with the intention of achieving an altered state of perception and exposure that I am otherwise unable to achieve. “Chiavi in mano” – the title of the concerto – is the mantra used by automobile salesmen and realtors in Italy: Buy the house or the car and the keys are yours. But the more pertinent reason for the title is the fact that the piano writing is designed to fall “under the hand” and no matter how difficult it may be, it remains physically comfortable and devoid of stress. In other words: “Keys in hand.” –Yehudi Wyner, December 13, 2004