Visions Fugitives op. 22 普羅科菲夫 瞬間幻影 鋼琴獨奏 博浩版

在創作第二和第三鋼琴奏鳴曲（1912-1917 年）期間，普羅科菲耶夫為各種樂器創作了大量作品。除《逃亡者的憧憬》外，還包括芭蕾舞劇《Chout》和《賭徒》、古典交響曲、第一小提琴協奏曲、第二鋼琴協奏曲和各種歌曲。在這一時期，他對帶有多調性色彩的打擊樂的癡迷達到了頂峰（但《古典交響曲》顯然是個例外）。儘管《Visions Fugitives》的風格與《第五奏鳴曲》（1923 年）的奇特和聲相近，但總體而言，它比任何一首鋼琴奏鳴曲的二聲部基礎都要薄弱。作曲家這種自發的靈感形式似乎使他能夠在《逃亡者的幻象》中創作出一套自成一體的微型樂曲，這些樂曲造型完美、連貫一致，但在整體演奏時又包含一個邏輯順序。通過對其短篇作品的研究，我們可以瞭解到在演奏後期作品時清晰度和節奏感的重要性。在《逃亡者的幻覺》中，這些品質的必要性一目了然"

作曲家: Prokofieff, Serge
校訂者: Schneider, F.H.
樂器: piano
出版社: Boosey & Hawkes
原文簡介:
Between the composition of the second and third piano sonatas (1912-1917), Prokofieff wrote a variety of works for a great diversity of instruments. Besides 'Visions Fugitives' these include the ballets 'Chout' and 'The Gambler', the Classical Symphony, the first Violin Concerto, the second Piano Concerto and various songs. This was an immensely productive period during which his obsession with percussive sounds coloured by polytonality was at its height (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based than any of the piano sonatas although the style is perhaps closet to the harmonic quirkiness of the Fifth Sonata (1923).Prokofieff's compositional process habitually involved the jotting down of musical ideas as they occured to him, to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce, in 'Visions Fugitives', a set of self-contained miniatures, perfectly shaped and coherent, yet comprising a logical sequence when played as a whole.The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofieff's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for these qualities is immediately apparent in 'Visions Fugitives'.