Mozart-Adagio 佩爾特˙阿爾沃 鋼琴三重奏 環球版

阿爾沃-帕爾特為小提琴、大提琴和鋼琴創作的《莫札特-阿達吉奧》（1992 年）是受赫爾辛基音樂節的委託，為卡利奇施泰因-拉雷多-羅賓遜三重奏所作，並在赫爾辛基音樂節首演。這首曲子是為了紀念奧列格-卡根，他是阿爾沃-派特的朋友，也是俄羅斯著名的小提琴家之一。卡根對莫札特的音樂有著特殊的感情，為了紀念這位小提琴家，作曲家轉錄了這位年輕作曲家的鋼琴奏鳴曲中最有感染力的樂章之一，即《F大調奏鳴曲，K.280》中的Adagio。阿爾沃-派特的《莫札特-Adagio》既不是改編曲，也不是拼貼曲。派特對原作的處理並不俏皮（正如他受巴赫啟發而創作的作品《Wenn Bach Bienen gezüchtet hätte》），而是謹慎而尊重。莫札特的作曲風格和派特的丁丁納布利風格在其中取得了平衡，因此出現了 18 世紀和 20 世紀之間的精神交匯。在原作的基礎上，作曲家加入了適度的引子、間奏和尾聲，以及克制而持續的 "評論"。引子和尾聲由最簡單的素材組成--大提琴和小提琴在二度和三度的 "謙遜 "二重奏中演奏離散的單音。在 "評論 "部分，作曲家採用了莫札特在這一樂章中最關注的音程--小二度，並在樂曲中加入了這種不和諧的音色。阿爾沃-派特在悼念失去的朋友時，似乎採用了莫札特不常使用的不協和音調，使這一悲傷的象徵不可避免地貫穿了整部作品"

作曲家: Paert Arvo
樂器: violin, cello and piano
出版社: Universal Edition

曲目:
Mozart-Adagio für Violine, Violoncello und Klavier (1992), rev. 2005)

原文簡介:
Arvo Pärt's Mozart-Adagio (1992) for violin, cello and piano was composed for the Kalichstein-Laredo-Robinson Trio on commission by the Helsinki Festival, where it was premiered. The piece is in memory of Oleg Kagan, who was a friend of Arvo Pärt's and one of Russia's leading violinists. Kagan had a special affinity with the music of Mozart and the composer memorialises the violinist by transcribing one of the most affecting movements of the youthful composer's piano sonatas, the Adagio from the Sonata in F Major, K. 280. Arvo Pärt's Mozart-Adagio is neither an arrangement nor a collage. Pärt's approach to the original work is not a playful one (as it was with his Bach-inspired piece Wenn Bach Bienen gezüchtet hätte) - rather, it is cautious and respectful. Aspects of Mozart's composition and Pärt's Tintinnabuli style are in balance so that there emerges a spiritual encounter between the 18th and 20th centuries. To the original, the composer adds a modest introduction, interlude, and coda, as well as a restrained and ongoing 'commentary'. The introductory and concluding frame consists of the simplest material - cello and violin playing discrete single notes in a 'humble' duet of seconds and thirds. For the 'commentary', the composer takes the interval of Mozart's preoccupation in this movement, the minor second and peppers the texture with this dissonant sonority. In lamenting the loss of a friend, Arvo Pärt seems to take the dissonance that Mozart uses so sparingly and makes this symbol of sorrow permeate, inescapably, the entire piece.