Tapis pour cordes 尹伊桑 弦樂五重奏 柏特-柏克版

題 "Tapis "意為 "地毯"、"織物"，指的是聲音表面類似織物的結構，這也印證了惲代英將音符視為 "筆觸"、"音串 "的觀點。Tapis 既可由獨奏樂器演奏，也可由弦樂團演奏，由細小的音間單元編織而成。另一方面，將這些單元編排成鏈，可在近乎交響樂的稠密空氣中形成寬廣的旋律發展。這首演奏曲的節奏特點是快-慢-快，幾乎是對稱的三部曲式。尹恩惠將五部曲分為低音和高音弦樂組，中提琴處於中間位置，並與小提琴或低音提琴結成不斷變化的聯盟。前九小節的音序以較小的規模預示了整體形式，至少是快速的週邊部分：小音程占主導地位；強有力的動機單元通過顫音和滑音擴展為音串，一直上升到第 7 小節，然後突然墜入深淵。旋律的發展由高音弦樂承載，低音弦樂的撥弦衝動為旋律的發展提供了節奏上的支援。在接下來的樂曲中，結構始終由尹恩惠的 "角色轉換 "原則決定：在第 9 小節中，低絃樂器承接了小提琴的旋律，並由高音部的短雙音動機賦予其節奏形態。在對比鮮明的中段，尹恩惠展現了 "抒情曲 "的吟唱風格。在最後的第三段中，他通過使用大量的聲音組合、節奏和手勢的混合過程、極強的動態和極高的位置，實現了極致的升級和極致的表達。沃爾特-沃爾夫岡-斯帕勒（1999 年）

作曲家: Yun Isang
樂器: 2 violins, viola, cello and double bass
出版社: Bote & Bock
原文簡介:
The title Tapis – meaning carpet, fabric – refers to the fabric-like structure of sound surfaces which confirm Yun's view of the note as a 'brushstroke', as a string of sounds. Tapis, which can be performed by both solo instrument and string orchestra, is woven of small and minuscule intervallic cells. On the other hand, the arrangement of such cells into chains leads to broad melodic developments in an almost symphonically dense air. The virtuoso work shows an almost symmetrical tripartite form with the tempo characteristics fast – slow – fast. Yun divides the five-part setting into the sound groups of the low and high strings, with the viola taking a mediating position and entering into changing alliances with the violins or the basses. The sequence of the first nine bars anticipates the overall form – at least the fast outer sections – on a small scale: Small intervals are dominating; powerfully articulated motivic cells expanded by trills and glissandos into strings of sounds are forced up – heavenward – until bar 7 and then plummet rather abruptly into the depths. The melodic development is carried by the high strings which are rhythmically supported by pizzicato impulses of the low strings. In the following, the structure is determined throughout by Yun's principle of 'change of roles': In bar 9, the low strings take up the melodic air of the violins and are given a rhythmic shape by short two-note motifs of the upper parts. In the contrasting middle section, Yun displays the cantabile style of a dolce setting. In the final third section, he achieves an extreme escalation and extreme expression by using massive conglomerations of sounds, rhythmic and gestural amalgamation processes, extreme dynamics, and extremely high positions. Walter-Wolfgang Sparrer (1999)