Sonata IV für Klavier 奏鸣曲 骑熊士版

1962-1964年创作的第四钢琴奏鸣曲是为了纪念费泽尔的朋友、不幸去世的钢琴家安东宁-耶梅利克（Antonín Jemelík）。为了向他们的友谊致敬，作曲家在引言中引用了他们最喜爱的作品--亚历山大-斯克里亚宾（Alexander Scriabin）的第 10 号钢琴奏鸣曲，作品 70。在三小节引文之后的八度齐奏段落中，弥漫着作曲家朋友去世的悲痛情绪。从作曲角度来看，这部作品是 60 年代中期的杰作。乐曲以一个乐章的形式写成，分为许多相互对比的片段，而这些片段又被清晰地分为两个部分，即展开和发展。各主题在第一乐章中引入，在第二乐章中展开。主题的处理几乎完全在于对主题的分割或缩减，或使用几个主题的组合，大多简短而雄辩。这种作曲方法加上清晰的演奏方式、半调式旋律和对比鲜明的动态，使乐曲充满力量和透明感。第四钢琴奏鸣曲》与《交响壁画》、《钢琴与管弦乐队协奏曲》和《丢勒启示录后的十五幅版画》一起完成于 1964 年，作为费泽尔的代表作，《第四钢琴奏鸣曲》理应与它们并列"

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. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonín Jemelík, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Dürer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.

The work was first performed by Pavel Stepán in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); 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).