Stoffreste Ballett in einem Akt von Günter Grass 莱曼 芭蕾 钢琴 芭雷伴奏 柏特-柏克版
贡特-格拉斯（Günter Grass）的剧本创造了一个怪诞的环境，可被解释为对忙碌和过度的经济奇迹般的消费世界的讽刺。在开场和结尾的场景中，飞蛾们津津有味地品尝着商人的商品，芭蕾舞剧以飞蛾芭蕾舞为框架，围绕商人及其与双胞胎的关系展开。商人试图用五颜六色的布料将双胞胎拉入一场色情游戏，但徒劳无功。遭到拒绝后，他怒不可遏，试图用从剪刀架上取下的两把剪刀刺死双胞胎，但没有成功：双胞胎继续跳着欢快的舞蹈，剪刀插在她们的肩胛骨之间。一名警察和围观者看到了这一幕，吟唱者被逮捕了。然而，这对双胞胎却把剪刀从背上拔了出来，并用剪刀剪开了布料，于是商人被释放了。双胞胎想带着裁剪精美的衣服匆匆离去；商人试图阻止她们，但只抓住了剪刀。剪刀似乎粘在了他的手上，再也没有人从他身上取下剪刀，在与剪刀绝望地共舞之后，他将两把剪刀都插入了自己的胸膛，倒在桌子上死去： Wolfgang Burde： 莱曼为这一系列场景创作了[一种]重音交替的手势音乐，暗指狐步舞和爵士乐中的低音步，带有滑音、动机发展和偶尔的密集管乐段。芭蕾舞剧的创作磨砺了雷曼斯作为作曲家的意识，与舞蹈演员的合作也非常有趣： 一个人如何对自己创作的声音或节奏动作做出反应？我开始思考巨大的节奏变化。这对我来说非常重要。如果没有这段经历，我的节奏思维也不会发展成这样。(沃尔夫冈-伯德：《莱曼的生活与工作》，美因茨，2005 年，第 29 页起）
作曲家: Reimann, Aribert
乐器:
出版社: Bote & Bock
原文简介:
The libretto by Günter Grass develops a grotesque setting which can be interpreted as a satire on the hectic and excessive economic-miracle-like world of consumption. Framed by a ballet of moths who are relishing de- stroying goods of the merchant in the opening and closing scenes, the ballet centers around the merchant and his relationship with twins. The merchant tries in vain to drag the twins into an erotic game with colourful fabrics. In a rage at being rejected, he attempts to stab them both to death with two pairs of scissors which he takes from a rack of scissors without success: the twins continue to dance merrily, with the scissors embedded between their shoulder blades. A policeman and onlookers observe the scene, the mer- chant is arrested. The twins, however, pull the scissors out of their backs and use them to cut the panels of fabric whereupon the merchant is released. The twins want to hurry away with the beautifully tailored clothes; the merchant tries to stop them but only gets hold of the scissors. After a desperate dance with the scissors, which seem to stick to his hands and which no one takes off from him any more, he plunges both pairs of scissors into his chest, collapses onto the table and dies. (Günter Grass, cited in: Wolfgang Burde: Reimann Leben und Werk, Mainz 2005, p. 29)For this sequence of scenes, Reimann wrote [a] gestural music of alternating accentuation, with allusions to the foxtrot and a jazz walking bass, with glissandos, motivic development and occasional dense wind sections. The work on the ballet sharpened Reimanns awareness as a composer and the collaboration with the dancers was interesting: How does a person react to sound or a rhythmic movement which one has written? And I began to think in enormous rhythmic variations. And that was very important to me. Without this experience, even my rhythmic thinking would not have developed like that. (Wolfgang Burde: Reimann Leben und Werk, Mainz 2005, p. 29f)