Klar/Obskur 鋼琴三重奏 朔特版

義大利文藝復興時期的畫家們發展出的明暗對比技術可以加強對比度和光學深度效果。在《克拉爾/奧布斯庫爾》中，我試圖將這一技術的總體理念移植到兩支雙簧木管樂器和鋼琴這一不同尋常的樂器上。一方面，清晰、鏗鏘的演奏是這些樂器的特點，另一方面，它們往往具有被低估的 "暮光 "潛能：空氣聲和脆弱、陰暗的色彩在雙簧管樂器（通常，表面上看，雙簧管樂器不如長笛或單簧管有分辨聲音的能力）的演奏下尤其具有吸引力。鋼琴在打擊樂和細膩的演奏之間也有廣泛的可能性，與木管樂器相輔相成，而木管樂器則可以吸收和延續漸弱的鋼琴聲。開頭引入了構成樂曲基本素材的兩個對比元素：一個清晰、尖銳的和絃，隨後是脆弱、暗淡的聲音。這些元素之間的變化以及它們的組合和混合產生了巨大的色彩和姿態。在這個 "格言式 "的開頭之後，是四個截然分開的小段，每個小段都有一個明確的質地：部分幾乎難以察覺的氣音段落、一連串微縮音、一連串精湛的演奏，以及重新回到開頭的脆弱音色。第二段較長的主體部分由三個部分組成，三個部分之間巧妙地相互融合：一個標有彈性[federnd]的簡短單音段落被分解成基本要素；從這些殘餘部分中，出現了低沉、"神秘 "的巴松管和鋼琴聲的對抗，以及雙簧管的強烈裝飾性旋律線，最終形成一個簡短而有力的高潮。樂曲最後是一個延長的、輕鬆的尾聲，包括一段簡短的鋼琴獨奏以及雙簧管和巴松管的二重奏，最後引用了中間部分的 "彈性 "特徵。本傑明-史懷哲

作曲家: Schweitzer Benjamin
樂器: oboe, bassoon and piano
出版社: Schott Music
原文簡介:
The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer
難度: difficult