Trio 鋼琴三重奏 博浩版

作曲家注：我很早就為這首曲子確定了一個簡單的標題：三重奏。它既反映了演奏者的人數，也反映了樂章的數量。樂章本身的名稱可能會讓人更好奇，而不是一看標題就知道，每個樂章都盡力獨立存在，但在我看來，這些相對簡短的陳述合在一起，構成了一個完整的音樂段落。這是一首應景之作，我很高興能為此做出貢獻：在波士頓伊莎貝拉-斯圖爾特-加德納博物館的新音樂廳，克萊蒙特三重奏為我熟悉的老朋友和演奏家們舉辦了首場音樂會。我在互聯網上搜索和研究，找到了建築師倫佐-皮亞諾（Renzo Piano）的設計圖，並在布魯克林家中工作時通過照片觀看了這座建築的成長。我被音樂廳不同尋常的外形所吸引，它是一個垂直立方體，有四層包裹的陽臺，幾乎直接盤旋在方形舞臺的上方。結果正如我想像的那樣：在最終被命名為考德伍德音樂廳的地方，沒有前後左右之分。只有上下。我將第二樂章作為向大廳致敬的隱喻：大部分樂章都是垂直的，這也是我的初衷。雖然我在作曲時關注的是技術問題，但當我聽到這首樂曲時，我驚訝地發現我把我的工程技術，那些承重柱，隱藏在了我不經意間形成的表皮之後。作為聽眾，我才意識到《卡爾德伍德》中的音樂構成了《三重奏》的情感核心。弗洛裡德跳房子》（Florid Hopscotch）是這首樂曲的開頭，儘管是一個略顯混亂或沮喪的開頭：鋼琴中跳躍的頓挫感與弦樂中流動的長音爭奪著突出的位置。機器人的慢華爾滋》是一首相當直白的樂曲，根據人們對這種事物的看法，它可能是淒美的，也可能是恐怖和怪誕的。也許音樂在兩者之間都找到了自己的方向，但在我寫完最後一個音符後，這幅畫面就像一道閃電擊中了我。我不喜歡劇透，但我還是想透露一點：任何以電池為動力的物體，如果自作主張地嘗試像跳舞這樣迷人而無用的人類行為，都可能會得到我的同情，至少在電池耗盡之前是這樣。- 肖恩-謝潑

作曲家: Shepherd Sean
樂器: piano trio
出版社: Boosey & Hawkes, New York
原文簡介:
Composer’s note: "I decided on a simple enough title for this piece early on: Trio. It's meant to reflect both the number of players and the number of movements that make up the piece. The names of movements themselves might leave one more curious than a quick glance at the title might reveal, and each movement does its best to stand alone, but in my mind these relatively short statements, taken together, make a complete musical paragraph. It’s a piece for an occasion, and one for which I was very happy to contribute: the first concerts in a new concert hall in Boston at the Isabella Stuart Gardner Museum, for the Claremont Trio, old friends and players I knew well. I scoured and researched on the internet, found the design plans of the architect, Renzo Piano, and watched the building grow in photos as I worked at home in Brooklyn. I was taken with the unusual shape of the hall, a vertical cube with four wrapping balcony levels hovering nearly directly over a square stage. The result, as I imagined: there is no front or back, left or right in what was eventually named Calderwood Hall. There is only up and down. I approached the second movement as a metaphor of homage to the hall: most of movement is vertical in nature, as was the intent. While I had focused on technical issues in composing the music, upon hearing it, I was surprised to find I’d hidden my engineering, those load-bearing columns, behind a skin that formed while I wasn’t looking. It was only as a listener that I realized the music in "Calderwood" formed the emotional core of Trio. Florid Hopscotch serves as the intrada, albeit a slightly confused or frustrated one: a leaping staccato gesture starting in the piano argues for prominence with long flowing lines in the strings. Slow waltz of the robots is a pretty blunt take on something that, depending one’s view of such things, might be anywhere from sadly beautiful to horrifying and grotesque. Perhaps the music finds its way toward a bit of both, but the image hit me like a flash after I’d written the last note. I don’t like spoilers, but I’m inclined give this away: any battery-powered objects that would take it upon themselves to attempt such a charmingly useless human act as dancing would likely get a sympathetic view from me, at least until those batteries run out." - Sean Shepherd -
難度: difficult