Flûte en suite for flute and orchestral groups 魏德曼 组曲长笛管弦乐团 长笛加钢琴 朔特版

这首组曲并不是我的史诗般的器乐协奏曲，如大提琴、小提琴或双簧管协奏曲，而是由一系列舞蹈形式编排而成的小型组曲。在这里，沉没的世界突然浮出水面，以危险的扭曲方式盘旋，然后又沉入谷底。几乎每个乐章都为长笛独奏分配了特定的音色，以及来自管弦乐团的一个乐器组：在开场的阿勒曼德中，管弦乐团的长笛（包括中音长笛和低音长笛，后来还包括短笛，以涵盖整个长笛家族）；萨拉班德中的弦乐组；两首合唱曲（第一首为极低音，第二首为粗犷风格）中的铜管乐组等。 只有在最后的《巴迪内里》中，所有管弦乐组才结合在一起，尽管它们是巴洛克风格的梯田式，一个紧接着一个，很少同时演奏。这使得长笛仍然是所有冲动的提供者；长笛与各种乐器的色彩结合在一起，充满了这些色彩，从而在不同的光线下闪耀着尖锐、苍白和光芒。这次首演标志着我与克利夫兰管弦乐团两年合作的结束。这支优秀乐团的多才多艺（事实上，它是由各个部分组成的），以及其首席长笛演奏家乔舒亚-史密斯（Joshua Smith）令人兴奋的暗色音色，在很大程度上决定了我的组曲《Flûte en suite》的形式和音调特征。约尔格-维德

作曲家: Widmann, Joerg
乐器: flute and orchestra
出版社: Schott Music

曲目:
I Allemande - II Sarabande - III Choral I - IV Courante - V Choral II - VI Venezianisches Gondellied (Barcarole) - VII Cadenza - VIII Badinerie

原文简介:
This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann