Quasi Hoquetus for Viola, Cello and Piano 古拜杜莉娜 鋼琴三重奏

這部作品創作於 1984 年（最初的樂器為中提琴、巴松管和鋼琴），追溯到中世紀的 "hocket"（源自布列塔尼語 "打嗝 "之意）技巧。在這種技法中，旋律被分割成若干片段，這些片段以開放式的 "絲狀 "紋理在所有聲部中遊弋。然而，在古拜杜麗娜的作品中，"打嗝 "不僅包含了旋律參數，更重要的是和聲和音色。花絲樂章逐漸形成一個線性的連續體，其中以十字和數字（如七和十三）為形式的精神象徵尤為重要。這部作品在形式、和聲和音調結構上與眾不同，並明顯參考了約翰-塞巴斯蒂安-巴赫（Johann Sebastian Bach）的作品，在某種程度上忠於傳統。然而，這部作品也有真正的創新，令人耳目一新，尤其是在中提琴的和聲處理、巴松管的多音位以及鋼琴的音群方面。在這部精湛的室內樂作品中，傳統與創新這兩個方面完美地結合在一起，反映了古拜杜麗娜與傳統之間獨特的個人關係。"我的理想是一種與傳統和新作曲手段的關係，在這種關係中，藝術家掌握了所有這些手段，包括新的和傳統的--但他這樣做的方式讓人覺得他並不關注其中任何一種。有些作曲家會有意識地構建自己的作品，而我則屬於那些喜歡 "培養 "自己作品的人。這就是為什麼我所能吸收的整個世界在某種程度上構成了一棵樹的根，而它的枝葉則是由此生長出來的作品。人們可以說它們是新的，但歸根結底它們仍然是樹葉，因此它們始終是傳統的、古老的"。(Sofia Gubaidulina）這部作品獻給 Mikhail Tolpygo、Valeri Popov 和 Alexander Bakhchiyev"

作曲家: Sofia Gubaidulina
樂器: Cello; Piano; Viola
出版社: Sikorski
原文簡介:
Composed in 1984 (original instrumentation was viola, bassoon and piano), this work harks back to the medieval technique of the “hocket” (which comes from the Breton word for “hiccups”). It is a technique in which a melody is broken up into fragments which then roam through all the parts in an open, “filigree” texture. In Gubaidulina's work, however, the hocket embraces not only the melodic parameter, but also and above all the harmony and timbres of her material. The filigree writing consolidates itself gradually into a linear continuum, whereby spiritual symbolism in the form of cross and number figures (e. g. seven and thirteen) takes on a particular importance. The work pledges a certain allegiance to tradition in its distinct formal, harmonic and tonal structure and in its obvious references to Johann Sebastian Bach. However, it is also genuinely and refreshingly innovative, particularly in the treatment of the harmonics in the viola, the multiple stops on the bassoon and the clusters in the piano. Brought to a consummate synthesis in this masterful chamber music work, these two aspects - tradition and innovation - reflect Gubaidulina's uniquely personal relationship to her heritage. “My ideal is a relationship to tradition and to new compositional means in which the artist masters all of these means both new and traditional- but does so in a way that makes it seem he is paying no attention to either of them. There are composers who construct their works very consciously; I, however, number myself among those who prefer to 'cultivate' their works. This is why the entire world which I can assimilate constitutes, in a way, the roots ofa tree; its branches and leaves are the works which grow from it. One can call them new, but in the end they are still leaves, and thus they are always traditional, old”. (Sofia Gubaidulina) The work is dedicated to Mikhail Tolpygo, Valeri Popov and Alexander Bakhchiyev.