Stoffreste Ballett in einem Akt von Günter Grass 萊曼 芭蕾 鋼琴 芭雷伴奏 柏特-柏克版
貢特-格拉斯（Günter Grass）的劇本創造了一個怪誕的環境，可被解釋為對忙碌和過度的經濟奇跡般的消費世界的諷刺。在開場和結尾的場景中，飛蛾們津津有味地品嘗著商人的商品，芭蕾舞劇以飛蛾芭蕾舞為框架，圍繞商人及其與雙胞胎的關係展開。商人試圖用五顏六色的布料將雙胞胎拉入一場色情遊戲，但徒勞無功。遭到拒絕後，他怒不可遏，試圖用從剪刀架上取下的兩把剪刀刺死雙胞胎，但沒有成功：雙胞胎繼續跳著歡快的舞蹈，剪刀插在她們的肩胛骨之間。一名員警和圍觀者看到了這一幕，吟唱者被逮捕了。然而，這對雙胞胎卻把剪刀從背上拔了出來，並用剪刀剪開了布料，於是商人被釋放了。雙胞胎想帶著裁剪精美的衣服匆匆離去；商人試圖阻止她們，但只抓住了剪刀。剪刀似乎粘在了他的手上，再也沒有人從他身上取下剪刀，在與剪刀絕望地共舞之後，他將兩把剪刀都插入了自己的胸膛，倒在桌子上死去： Wolfgang Burde： 萊曼為這一系列場景創作了[一種]重音交替的手勢音樂，暗指狐步舞和爵士樂中的低音步，帶有滑音、動機發展和偶爾的密集管樂段。芭蕾舞劇的創作磨礪了雷曼斯作為作曲家的意識，與舞蹈演員的合作也非常有趣： 一個人如何對自己創作的聲音或節奏動作做出反應？我開始思考巨大的節奏變化。這對我來說非常重要。如果沒有這段經歷，我的節奏思維也不會發展成這樣。(沃爾夫岡-伯德：《萊曼的生活與工作》，美因茨，2005 年，第 29 頁起）
作曲家: Reimann, Aribert
樂器:
出版社: Bote & Bock
原文簡介:
The libretto by Günter Grass develops a grotesque setting which can be interpreted as a satire on the hectic and excessive economic-miracle-like world of consumption. Framed by a ballet of moths who are relishing de- stroying goods of the merchant in the opening and closing scenes, the ballet centers around the merchant and his relationship with twins. The merchant tries in vain to drag the twins into an erotic game with colourful fabrics. In a rage at being rejected, he attempts to stab them both to death with two pairs of scissors which he takes from a rack of scissors without success: the twins continue to dance merrily, with the scissors embedded between their shoulder blades. A policeman and onlookers observe the scene, the mer- chant is arrested. The twins, however, pull the scissors out of their backs and use them to cut the panels of fabric whereupon the merchant is released. The twins want to hurry away with the beautifully tailored clothes; the merchant tries to stop them but only gets hold of the scissors. After a desperate dance with the scissors, which seem to stick to his hands and which no one takes off from him any more, he plunges both pairs of scissors into his chest, collapses onto the table and dies. (Günter Grass, cited in: Wolfgang Burde: Reimann Leben und Werk, Mainz 2005, p. 29)For this sequence of scenes, Reimann wrote [a] gestural music of alternating accentuation, with allusions to the foxtrot and a jazz walking bass, with glissandos, motivic development and occasional dense wind sections. The work on the ballet sharpened Reimanns awareness as a composer and the collaboration with the dancers was interesting: How does a person react to sound or a rhythmic movement which one has written? And I began to think in enormous rhythmic variations. And that was very important to me. Without this experience, even my rhythmic thinking would not have developed like that. (Wolfgang Burde: Reimann Leben und Werk, Mainz 2005, p. 29f)