Bridgetower Fantasy for violin and piano 幻想曲小提琴鋼琴 小提琴加鋼琴 朔特版

克魯采奏鳴曲》最初不是獻給魯道夫-克魯采（他從未演奏過這首曲子），而是獻給喬治-布裡奇塔爾，一位 18 世紀著名的非歐音樂會小提琴家。在早期的草稿中，貝多芬開玩笑地給這首曲子貼上了鮮明的種族標籤： 貝多芬和布裡奇塔爾進行了首演，從各方面來看都很成功，小提琴家甚至即興進行了一些潤色。事後，兩人在慶祝時發生爭執，貝多芬認為布裡奇塔爾侮辱了一位女性熟人；作曲家隨即撤銷了最初的獻詞，改用克羅伊澤的名字。這部作品廣受讚譽，而布裡奇塔爾的事業卻萎靡不振；他最終在貧困中去世。布裡奇塔爾一直是大量研究和猜測的主題，其中最著名的是詩人麗塔-多夫（Rita Dove）的著作《Sonata Mulattica》。從我們 21 世紀的視角來看，考慮到布裡奇托爾的獨特境遇，我們只能將他視為一個模棱兩可的人物，他體現了差異，激起了靈感、幻想、欲望、憤怒，最後是抹殺。我的作品是關於喬治-布裡奇塔爾的想像的集合。它不是程式化的，但具有情節性，由對比鮮明的片段組合而成。舞蹈節奏、重複出現的人物和手勢輪廓旨在突出表演者的專業技能和表現力，他們有時必須接觸到邊緣聲音並執行複雜的同步動作。我非常感謝珍妮-許和沙伊-沃斯納讓我參與到他們優美、精湛的音樂創作中"

作曲家: Iyer, Vijay
樂器: violin and piano
出版社: Schott Music
原文簡介:
The Kreutzer Sonata was originally dedicated not to Rudolphe Kreutzer (who never performed it) but to George Bridgetower, a famed 18th-century Afro-European concert violinist. In an early draft, Beethoven jokingly labeled the piece in starkly racialized terms: Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.Beethoven and Bridgetower performed the premiere, which was by all accounts a success, and even featuring some improvised embellishment by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower's insult of a female acquaintance; the composer then revoked the original dedication, adding Kreutzer's name instead. The work gained acclaim, while Bridgetower's career languished; he eventually died in poverty.Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove's book, Sonata Mulattica. From our 21st-century vantage, considering Bridgetower's unique circumstance, we can only see him as an ambiguous figure who, in embodying difference, provoked inspiration, fantasy, desire, anger and, finally, erasure.My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting fragments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny Koh and Shai Wosner for involving me in their beautiful, virtuosic music-making.