Päärme / Hem 鋼琴三重奏 芬尼卡·蓋爾曼版

洛塔-韋納科斯基（Lotta Wennäkoski）講述了她為鋼琴三重奏創作的長達10分鐘的作品《半球》（Päärme）：我們經常在音樂中談論形象意義上的匠人精神，特別是對於作曲家而言，匠人精神是一種傳統的職業美德。不過，我個人也時常對手工藝品、織物的觸感和縫紉所產生的具體形象感興趣。鋼琴三重奏《Päärme/Hem》具有脈動的特徵，尤其是在外側部分，而穩定但色彩不穩定的縫合的概念促使我為樂曲的標題選擇了一個有趣且極不尋常的詞。這首三重奏中的縫合動作歡快明快，儘管其結果並不總是過於整齊或規則。因為噪音也是手工質地的一個固有特徵。我的作曲靈感往往來自西貝柳斯鋼琴三重奏的首演。靜態中段的緩慢旋律素材在很大程度上得益于對王牌演奏家手中細膩、密集線條的瞭解。本產品包括樂譜（=鋼琴聲部）以及小提琴和大提琴聲部，均為 B4 規格"

作曲家: Wennäkoski Lotta
樂器: violin, cello and piano
出版社: Fennica Gehrman
原文簡介:
Lotta Wennäkoski tells about her 10 minute long work Päärme (Hem) for piano trio: "We often speak in music of crafting in a figurative sense, and craftsmanship is, for the composer particularly, a traditional professional virtue. I personally have from time to time nevertheless been interested in the concrete images aroused by handicrafts, the way fabrics feel, and sewing. The piano trio Päärme/Hem has a pulsative character, especially in the outer sections, and the idea of steady but erratically colourful stitching prompted the amusing and highly unusual word I chose for the title of the piece. The hemming in this trio is cheerfully brisk, though the result is not always even intended to be over-neat or regular. For noise sounds are also an intrinsic feature of a hand-made texture. As is often the case with me, my source of inspiration in composing was the fact that the Sibelius Piano Trio would be giving the first performance. The slow, melodic material of the static middle section is to a great extent indebted to the knowledge of just how succulently such delicate, intensive lines can sound in the hands of ace players." This product includes the score (=piano part) and parts for violin and violoncello, all in B4 size.