Fantasie for Clarinet solo 魏德曼 幻想曲 豎笛獨奏 朔特版

約爾格-維德曼（Jörg Widmann）是國際上炙手可熱的獨奏家，也是弗萊堡音樂學院的單簧管教授，他在為單簧管和鋼琴而作的《Fünf Bruchstücke》（已出版）（KLB 54）以及為單簧管獨奏而作的《幻想曲》中展現了當代單簧管音色的精緻細膩。在《Fünf Bruchstücke》中，噪音作為一種表達方式受到了極大關注，而《Fantasie》則主要基於浪漫主義旋律的慣常音色，不過這一次，它以諷刺的方式將舞蹈、克萊茲梅爾音樂和爵士音樂（相當於單簧管的輕音樂）融入其中。單簧管獨奏《幻想曲》是我為自己的樂器單簧管創作的第一首真正意義上的作品。它以其古怪的演奏技巧和歡快、諷刺的基本特徵，反映了 1919 年斯特拉文斯基的 3 首單簧管獨奏曲的經驗，以及在卡爾-瑪麗亞-馮-韋伯為單簧管記譜之前音樂中從未出現過的音調創新，並以一種新的方式將其進一步發揚光大。約爾格-維德曼（Jörg Widmann）......關於詮釋：重要的是要完全按照標題的字面意思來理解--這就是為什麼演奏者當然要帶著想像力來演奏這首曲子。結構方面最重要的資訊是：完全沒有小節線--每當學生或其他人向我演奏這首樂曲時，我總是為演奏者自己的想法以及音樂文本的字面意義和嚴肅性而感到高興，其中既有所有的動態和銜接標記，又充滿了生命力和想像力。然而，我總是注意到，節奏明快的脈搏部分往往演奏得像一首小曲，而不是充滿想像力。對我個人而言，最重要的是，即使時間要求嚴格，也要在音調的區分中獲得樂趣。發揮您的想像力，盡情演奏我的'幻想曲'吧！--約爾格-維德曼"

作曲家: Widmann, Joerg
樂器: clarinet in Bb
出版社: Schott Music
原文簡介:
Jörg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fünf Bruchstücke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fünf Bruchstücke', 'Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music. 'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in a new way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte.- Jörg Widmann...on the interpretation:It would be important to take the title completely literally – which is why the performer should of course play the piece with imagination. The most important information on the structure: the complete absence of bar lines – whenever the piece is played to me by students or other persons, I am always pleased about the player's own ideas and about the fact that the musical text is taken literally and seriously, with all its dynamic and articulation marks, and yet filled with life and imagination. What I always notice, however, is that the rhythmic fast pulse part is often played like an étude, rather than with imagination. What is most important to me, personally, is to take pleasure in making tonal distinctions, even despite the strict timing. Use your imagination and enjoy playing my 'Fantasie'!- Jörg Widmann