Pulcinella Suite 斯特拉溫斯基．伊果 普爾欽奈拉組曲 長號加鋼琴 博浩版

這首斯特拉文斯基的新古典主義傑作是小號演奏家、錄音製作人、作家、倫敦大學教授、倫敦皇家音樂學院院長喬納森-弗裡曼-阿特伍德（Jonathan Freeman-Attwood）的心血結晶。它和它的姊妹版小號鋼琴曲都是對各自樂器曲目的重要補充。作曲家自己的小提琴和大提琴轉錄曲《義大利組曲》是銅管樂版本的先驅，其中包含部分樂章，而這些新出版物則介紹了整個組曲。弗裡曼-阿特伍德（Freeman-Attwood）在其博學的序言中概述了斯特拉文斯基原作《普爾辛內拉》中小號演奏的重要性及其與其他作品的關係，以及與 "17 世紀早期義大利和德國大合唱和清唱劇中熠熠生輝的優雅小號獨奏部分的關係"[... 在這裡可以聽到小號以其無處不在的'巴羅克'身份與過去遙相呼應，而一段全新的'二重奏'文字則懇求演奏者和聽眾在'致敬'的鏡廳中進一步反映這部作品。 "

作曲家: Stravinsky, Igor
編者: Freeman-Attwood, Jonathan
校訂者: Pienaar, Daniel-Ben
樂器: trombone and piano
出版社: Boosey & Hawkes
原文簡介:
This transcription of Stravinsky’s neoclassical masterpiece is the brainchild of Jonathan Freeman-Attwood, trumpeter, recording producer, writer, University of London Professor and Principal of London’s Royal Academy of Music. Both it and its sister edition for trumpet & piano represent a major addition to the repertory for the respective instruments. The composer’s own violin & cello transcriptions, Suite Italienne, were the precursor for the brass editions, containing a selection of movements, whereas these new publications present the entire suite. In his erudite preface, Freeman-Attwood outlines the importance of the trumpet writing in Stravinsky’s original Pulcinella and its relationship with his other works and with the “gleaming elegance of the solo obbligato trumpet parts which pepper the cantatas and oratorios of Italy and Germany in the early 1700s […] The trumpet can be heard here echoing the past with its ubiquitous ‘baroque’ identity, while a fresh ‘duo’ text implores the player and listener to reflect the work further in a hall of mirrors, ‘an hommage’.”