Tabula rasa Double Concerto 佩爾特．阿爾沃 複協奏曲 總譜 環球版

一樂章 "Con moto"（樂章）的靈感來源於巴羅克時期的大協奏曲--一小群樂器與管弦樂隊的其他樂器相對抗。預製鋼琴--將不同的物體放入樂器中，從而產生不同的椋鳥聲（在這首樂曲中，螺絲釘位於弦樂之間）--明顯參考了鐘聲。第一樂章由兩個不同的片段並列展開：一個節奏活躍，一個平靜，只有一把小提琴和一架鋼琴參與其中。活躍部分的樂章在音域和節奏上逐漸增強，並在一個琶音豐富、近乎激烈的部分達到高潮。在第二樂章 "Senza moto"（無樂章）中，備奏鋼琴的作用更為重要，它提供了唯一的節奏和色彩對比，在擴展的卡農樂段中，大提琴向上和向下擴展二度音階，這與《大合唱》中使用的技巧類似，第一小提琴在卡農樂段中緊隨其後。Per F. Broman 1997（摘自 BIS CD 834 的小冊子）

作曲家: Paert, Arvo
樂器: for violin, viola, string orchestra and prepared piano
出版社: Universal Edition
原文簡介:
Inspired by the concerto grosso from the Baroque period - a small group of instruments, against the rest of the orchestra - the first movement, Con moto (with movement), features Vivaldi-like textures resulting from its use of static rhythms and homophonic structure. The prepared piano - in which different objects are put into the instrument, thus creating different starling sounds (in this piece screws between the strings) - makes a clear reference to bells. The first movement develops through a juxtaposition of two different episodes: one rhythmically active and one calm section in which only one violin and piano take part. The motion in the active section increases gradually in register and rhythmic activity and culminates in an extensively arpeggiated, almost violent, section. In the second movement, Senza moto (without movement), the prepared piano serves an even more important function - providing the only rhythmic and coloristic contrasts to be extended canon sections in which the celli expand a diatonic scale upwards and downwards, similar to the technique used in Cantus, followed in canon by the first violins. Per F. Broman 1997 (taken from the booklet of BIS CD 834)

Preparation of the Piano: Metal screws of 5 or 6 mm diameter should be used. The screws should each be placed behind the dampers. Division of the strings into octaves by the screws is not necessary. In order to prepare the strings, they should be carefully separated by a felt wedge before the screws are inserted or removed, in order to avoid damage to the strings. Via the preparation, one of the three strings always vibrates freely, thus determining the pitch. The two strings prepared with the screw produce an alienated tone colour effect. As large a concert grand should be used as possible (not an upright piano). To achieve the desired tone colour, it is essential that the piano is prepared, and amplified.