Sonata III für Klavier 奏鸣曲 骑熊士版

《第三钢琴奏鸣曲》创作于 1960 年，当时作曲家在 HAMU（布拉格表演艺术学院音乐系）师从埃米尔-赫洛比尔（Emil Hlobil）。20 世纪 60 年代前半期是费泽尔音乐语言发生根本性变化的时期，他在《丢勒启示录后的十五幅版画》中迅速形成了自己独特的风格。因此，这首奏鸣曲也包含了几个基本特征，进一步推动了他的作曲发展。作品有两个乐章，但其内部结构摒弃了传统形式。乐曲分为几个短小、相互对比的部分，通过主题和和弦的处理强调了相邻部分之间的区别。这些对比也通过所选择的动态、节奏和其他表现手段得到支持。和声在很大程度上以传统和弦或其浓缩形式为基础，但在某些段落中，我们也会遇到半音簇或四度和弦。旋律仍以二度音阶为主，费泽有时也会使用半音阶。第 3 号奏鸣曲中的这些新元素表明，费泽试图简化他的创作，以确保最大的透明度和感染力。从 20 世纪 60 年代中期开始，这种努力成为费泽尔作品的基本特征"

作曲家: Fišer, Luboš
乐器: for Piano
出版社: Bärenreiter 骑熊士(小熊版)
原文简介:
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Dürer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards.

The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bílek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).