Cadenzas Concerto for violin and orchestra 艾得斯 裝飾樂段協奏曲小提琴管弦樂團 小提琴獨奏 朔特版

在與小提琴家彼得-赫雷斯塔爾（Peter Herresthal）的一次談話中，我們談到了利蓋蒂的小提琴協奏曲樂譜中的 "邀請"，即為作品提供一段快板。彼得建議我回應這一邀請，我欣然接受。我完全遵照作曲家的指示：快板可以使用所有五個樂章中的素材，並應自始至終具有 "緊張 "的特點。我的目標還包括寫出一段快板，而結尾的管弦樂尾奏則是快板的必然結果。(湯瑪斯-阿德斯)快板也可由獨奏者創作，最長可達 1-2 分鐘。它應該自始至終都很緊張（繼續演奏激昂的molto），但也可以將所有五個樂章中的旋律素材自由組合在一起。在接近尾聲時，節奏應為急板，左手和弓弦樂交替演奏，表現出瘋狂的演奏技巧。快板沒有真正的結束，在 R 處突然被樂隊打斷（獨奏者與指揮商定）。這一中斷是在毫無準備的情況下突然發生的。此時獨奏者應在高位置（上弦）以最大速度演奏。獨奏小提琴在高音木塊進入時突然靜止。捷爾吉-裡蓋蒂

作曲家: Adès, Thomas
樂器: violin
出版社: Schott Music
原文簡介:
In a conversation with the violinist Peter Herresthal, we touched on the “invitation” in the score of Ligeti’s Violin concerto to provide a cadenza for the work. Peter suggested that I answer this invitation and I was happy to accept. I followed all the composer’s directions exactly: the cadenza may use material from all five movements, and should be of “hectic” character throughout. I also aimed to write a cadenza of which the closing orchestral coda would be an inevitable result. (Thomas Adès)The cadenza can also be composed by the soloist and can last up to 1-2 minutes. It should be hectic throughout (continuation of the appassionata agitato molto), but can incorporate melodic material ad lib. from all five movements. Towards the end, the tempo should be prestissimo with alternating arco and left hand pizz. in mad virtuosity. The cadenza has no real end and is suddenly interrupted by the orchestra at R (as agreed between soloist and conductor). This interruption occurs suddenly as if unprepared. The soloist should at this point be playing in high positions (on the top string) at maximum velocity. The solo violin abruptly falls silent on the entry of the high woodblock. György Ligeti