Romancendres 霍利格 浪漫曲 大提琴加鋼琴 朔特版

1853年，羅伯特-舒曼創作了五首鋼琴伴奏大提琴浪漫曲。這些作品從未出版，因為克拉拉-舒曼在創作 40 年後的 1893 年銷毀了未出版的手稿。海因茨-霍利格（Heinz Holliger）在他的六首大提琴與鋼琴二重奏中提到了這些化為灰燼的作品：標題是法文 "romances "和 "cendres "的組合。音樂本身也隱藏著許多典故。例如，在開頭的遊行部分，人們可以聽到克拉拉-舒曼的名字縮寫 C 和 eS [Eflat]，鋼琴吟誦了勃拉姆斯寫給克拉拉的一封信，最後部分的最後一個音符是由他的逝世地 EnDEniCH 的音調構成的。不過，無論是業餘還是有經驗的聽眾，都會立刻被霍利格斯的音樂所吸引。這部作品的感染力不僅在於其複雜的構思，更主要的是其強烈的音色"

作曲家: Holliger, Heinz
樂器: cello and piano
出版社: Schott Music

曲目:
Kondukt I (C.S. - R.S.) - I Aurora (Nachts) - II (R)asche(s) Flügelschlagen - III Der Würgengel der Gegenwart - IV heiter bewegt (Es wehet ein Schatten darin) - Kondukt II (Der bleiche Engel der Zukunft)

原文簡介:
In 1853 Robert Schumann composed five piano-accompanied cello romances. The works were never published though as Clara Schumann destroyed the unpublished manuscript in 1893, 40 years after they were written. In his six duo pieces for violoncello and piano, Heinz Holliger refers to these compositions which turned to ash: the title is a combination of the French words ‘romances’ and ‘cendres’. Many allusions are hidden in the music itself. In the opening procession part, for example, one can hear Clara Schumann’s initials C and eS [E flat], a letter of Brahms to Clara is recited by the piano, and the last figure of the final part is formed from the tones of his place of death, EnDEniCH. But both amateur and experienced listeners will at once be gripped by Holliger’s music. This work is affecting – not only by its complex conception but mainly by its intense sonority.