Fantasia 7 after Henry Purcell 幻想曲

乔治-本杰明（George Benjamin）对亨利-珀塞尔（Henry Purcell）的第 7 号《幻想曲》（1680 年 6 月 19 日）进行了精湛的改编，将乐曲升调了五度，改为 G 小调；除此之外，一个音符都没有改动。为了与钢片琴空灵的音色相匹配，其他乐器的演奏自始至终都非常安静；单簧管演奏家被要求发出被称为 "回音 "的非常纯净的声音，而小提琴和大提琴则几乎完全限于和声和拨弦。这首 5 分钟的乐曲在形式上由五个短小的'乐章'组成：缓慢的协奏曲式开场，然后是一个较快的乐段；一个中心和弦段落；第二个快速的协奏曲式段落和一个简短缓慢的尾声"

作曲家: Benjamin, George
乐器: Clarinet, Violin, Cello, Celesta
出版社: Faber Music
原文简介:
In George Benjamin’s masterful transcription of Henry Purcell’s Fantazia No.7 (19 June 1680) the music is transposed up a fifth into G minor; otherwise not a note is altered. To match the celeste’s ethereal timbre the other instruments play very quietly throughout; the clarinettist is asked to produce that very pure sound known as ‘echo tone’, while the violin and cello are confined almost entirely to harmonics and pizzicato. This 5-minute piece has a formal scheme of five short ‘movements’: a slow contrapuntal opening, giving way to a faster-moving section; a central chordal passage; a second fast contrapuntal section and a brief slow coda. ‘The Fantasia sounded completely unusual in Benjamin’s adaptation: strange, lacerated and frayed. Wonderful evidence of Purcell’s modernity.’ Die Welt (Stephan Hoffmann), 22 March 1996