Sonata IV für Klavier 奏鳴曲 騎熊士版

1962-1964年創作的第四鋼琴奏鳴曲是為了紀念費澤爾的朋友、不幸去世的鋼琴家安東甯-耶梅利克（Antonín Jemelík）。為了向他們的友誼致敬，作曲家在引言中引用了他們最喜愛的作品--亞歷山大-斯克裡亞賓（Alexander Scriabin）的第 10 號鋼琴奏鳴曲，作品 70。在三小節引文之後的八度齊奏段落中，彌漫著作曲家朋友去世的悲痛情緒。從作曲角度來看，這部作品是 60 年代中期的傑作。樂曲以一個樂章的形式寫成，分為許多相互對比的片段，而這些片段又被清晰地分為兩個部分，即展開和發展。各主題在第一樂章中引入，在第二樂章中展開。主題的處理幾乎完全在於對主題的分割或縮減，或使用幾個主題的組合，大多簡短而雄辯。這種作曲方法加上清晰的演奏方式、半調式旋律和對比鮮明的動態，使樂曲充滿力量和透明感。第四鋼琴奏鳴曲》與《交響壁畫》、《鋼琴與管弦樂隊協奏曲》和《丟勒啟示錄後的十五幅版畫》一起完成於 1964 年，作為費澤爾的代表作，《第四鋼琴奏鳴曲》理應與它們並列"

作曲家: Fišer, Luboš
樂器: for Piano
出版社: Bärenreiter 騎熊士(小熊版)
原文簡介:
Piano Sonata No. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonín Jemelík, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Dürer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.

The work was first performed by Pavel Stepán in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).