6 Bagatelles 钢琴三重奏 音乐小品

六首巴加泰勒舞曲》中找不到任何幽默的基调。随后是极富表现力、布局华丽的 "慢板小调"；简洁的 "前奏曲"，其中巴托克或斯特拉文斯基式的活力打破了回旋曲的轻盈；抒情叙事的 "梅西亚式""拉戈"；以及具有独特音调效果的低沉、微妙的 "慢板"。整首乐曲的高潮是前奏曲--与前奏曲形成鲜明对比--其中的重复和动感与拉格泰姆形式相结合。虽然我们无法从大小调系统的意义上谈论调性，但通过对和弦、和声和旋律乐句的选择，各个元素围绕着一个确定的中心摆动。各部分的质地和形式来自于叙事方式和主题的演变。作曲家使用了所有音域的乐器，发音范围广，但目的并不是进行声乐实验，而是创造一种氛围，通过这种氛围来表达一种特定的情感"

作曲家: Górecki, Mikołaj
改编者: Kowalczyk, Marcin / Kubieniec, Jadwiga
乐器: violin, cello and piano
出版社: EUTERPE
原文简介:
There's no humorous tone to be found in Six Bagatelles.The cycle opens with the spirited and bold Deciso. Following this come the expressive, splendidly laid-out Molto sostenuto; the concise Presto, in which the lightness of the scherzo is broken by a vitality in the style of Bartók or Stravinsky; the lyric-narrative, Messiaenic Largo; and the muted, subtle Lento with its unique tonal effects. The whole is crowned by Presto - decidedly contrasting with its antecedents - in which repetition and motility combine with ragtime forms. Although one cannot speak of tonality in the sense of the major-minor system, through choice of chords, harmonic and melodic phrases, individual elements oscillate around a defined centre. The texture and form of the parts derive from the manner of narration and evolution of motif-themes. The composer utilises the instruments in all registers and with a winde range of articulation - though the aim is not sonorstic experimentation but the creation of an aura through which to express a particular emotion.