Sonata III für Klavier 奏鳴曲 騎熊士版

《第三鋼琴奏鳴曲》創作於 1960 年，當時作曲家在 HAMU（布拉格表演藝術學院音樂系）師從埃米爾-赫洛比爾（Emil Hlobil）。20 世紀 60 年代前半期是費澤爾音樂語言發生根本性變化的時期，他在《丟勒啟示錄後的十五幅版畫》中迅速形成了自己獨特的風格。因此，這首奏鳴曲也包含了幾個基本特徵，進一步推動了他的作曲發展。作品有兩個樂章，但其內部結構摒棄了傳統形式。樂曲分為幾個短小、相互對比的部分，通過主題和和絃的處理強調了相鄰部分之間的區別。這些對比也通過所選擇的動態、節奏和其他表現手段得到支持。和聲在很大程度上以傳統和絃或其濃縮形式為基礎，但在某些段落中，我們也會遇到半音簇或四度和絃。旋律仍以二度音階為主，費澤有時也會使用半音階。第 3 號奏鳴曲中的這些新元素表明，費澤試圖簡化他的創作，以確保最大的透明度和感染力。從 20 世紀 60 年代中期開始，這種努力成為費澤爾作品的基本特徵"

作曲家: Fišer, Luboš
樂器: for Piano
出版社: Bärenreiter 騎熊士(小熊版)
原文簡介:
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Dürer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards.

The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bílek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).