Night Pieces: Five Preludes for Piano 小品 前奏曲 鋼琴

在皮埃爾-布列茲的 Domaine Musical 音樂會以及法國廣播電臺（ORTF）的音樂會上，我有過一次難以忘懷的經歷。儘管 1961 年我回國時，美國人似乎對布列茲-斯托克豪森-貝裡奧的音樂世界興趣不大，但作為鋼琴家，我將著手糾正這一缺失，當時我只在西海岸取得了成功。《夜曲》是我在巴黎創作的，當時我剛剛開始瞭解當前的歐洲國際風格，並在巴黎首演。然而，我從未想過要摒棄過去的任何音樂參照，包括調性，就像當時許多作曲家所做的那樣--樂曲中的第一個音是C大調三和弦，在1960年是一個令人震驚的和絃。我從當時流行的風格中吸收的是它對常規節拍的解放，而其姿態語言在很大程度上源自布列茲和相關的鋼琴音樂。(最後一首前奏曲中對勳伯格的引用是一種致敬）。獻曲者大衛-柴特金（David Chaitkin）也住在大學城，當時我還在那裡。他是一位優秀的作曲家，但還不夠出名；他於 2011 年去世。---威廉-博爾科

作曲家: William Bolcom
樂器: Piano
出版社: Edward B. Marks Music Company
原文簡介:
I had an overwhelming experience at Pierre Boulez's Domaine Musical concerts, as well as those of the French Radio (ORTF) that also specialized in the very newest music (a year-old piece was already passé). Although there seemed little interest in the Boulez-Stockhausen-Berio musical world in the U.S. when I returned in 1961, I would as pianist set out to rectify this omission, then only successfully on the West Coast. Night Pieces was written in Paris, shortly after I began my acquaintance with the current European international style, and premiered there. I never, however, wanted to eschew any musical reference from the past, including tonality as so many composers did then-and the first sound in the pieces is a C-major triad, in 1960 a shocking chord. What I did absorb from the prevailing style was its liberation from regular meter, and the gestural language is largely derived from Boulez andrelated piano music. (The reference to Schoenberg in the last prelude is an hommage.) David Chaitkin, the dedicatee, also lived at the Cité Universitaire when I was there. A fine composer, not well known enough; he passed away in 2011. ---William Bolcom