Rigoletto Concert-Paraphrase about the quartet by Franz Liszt 弄臣模擬曲 四重奏 鋼琴獨奏 朔特版

在李斯特的全部作品中，歌劇改編曲佔有重要地位，是與原創作品並駕齊驅的獨立藝術形式。Feruccio Busoni 高度評價了這些作品的藝術價值，認為它們在形式安排和對比方面經過深思熟慮的結構規劃，以及對所選主題進行擴展和美化的努力，使李斯特的歌劇幻想曲從平民化的大雜燴中脫穎而出。早期的威爾第改編曲，尤其是這首創作於 1859 年的《裡戈萊托-改編曲》，遠遠優於後來的改編曲（包括根據《唐-卡洛斯》和《阿依達》改編的改編曲）。這首根據歌劇史上最著名的四重奏改編的音樂會曲目極為精彩，其特別之處在于李斯特能夠以獨特的方式將極端對比的並置--公爵熱烈的愛情宣言、瑪德萊娜喋喋不休的拒絕、吉爾達悲痛欲絕的詠歎調和裡戈萊托憤怒的帕蘭多--如威爾第的原作一樣，融合在一起，形成了奇妙的形式統一"

作曲家: Liszt, Franz / Verdi, Giuseppe Fortunino Francesco
樂器: piano
出版社: Schott Music
原文簡介:
The opera paraphrases take a prominent place among Liszt's complete works as a self-contained art form alongside original compositions. Feruccio Busoni values the high artistic merit of these compositions in the manner in which their well-considered structural planning in the arrangement of form and contrast and the endeavour to expand and embellish the chosen motifs place Liszt's opera fantasies apart from the plebeian potpourri. The early Verdi paraphrases, particularly this Rigoletto-Paraphrase composed in 1859, are far superior to the later paraphrases (including those based on Don Carlos and Aida). This exceedingly brillant concert piece based on arguably the most famous quartet in the history of opera is particularly significant for the unique way in which Liszt is able to bring together the juxtaposition of extreme contrasts - the Duke's ardent declaration of love, Maddalena's prattling rejection, the grief-stricken cantilene of Gilda's and Rigoletto's furious parlando - as in Verdi's original, resulting in a marvellous formal unity.