Point Forms' (after Kandinsky) 竖笛 1把以上加钢琴 朔特版

点的形式 "是由瓦西里-康定斯基（Wassily Kandinskys）的《点、线和平面》一书中的一组五幅图提出的。康定斯基对几何图形的许多解释，包括对stippled（点状）、sprayed（喷射）和compact（紧凑）等词的使用，都建议用音乐的方式来积累质感；线条的发展和处理，例如一个想法与前一个想法暂时交织在一起，让形式决定其自身的有机发展。低音单簧管的音域比普通 A 级单簧管的音域更宽，在为低音单簧管的特殊音质而创作时，乐曲的结构允许各种音色和扩展效果随着情绪和气势的变化而凸显出来。音乐叙事或静止或前行，或俏皮、或激昂、或哀鸣，通过抽象的路径来传达一种内在美和内在的必要性。作品中的演奏过程经常在单线或两位演奏者之间重复，变化多端，这与康定斯基的主张不谋而合：将点转化为线的外来力量可以是多种多样的。点的形式 "由拉什沃斯信托基金会委托创作，并满怀深情地献给马克-辛普森。肯-赫斯基（2010 年

作曲家: Hesketh, Kenneth
乐器: basset clarinet in A or clarinet in A and piano
出版社: Schott Music
原文简介:
Point forms' was suggested by a group of five diagrams found in Wassily Kandinsky’s book Point and Line and Plane. Many explanations of the geometric shapes, including Kandinsky’s use of the words ‘stippled’, ‘sprayed’ and ‘compact’ suggested musical ways to amass textures; line development and manipulation, for example by the interleaving of one idea temporarily intertwined with a previous one, allow the form to determine its own organic development. In writing for the specific quality of the basset clarinet, which extends the pitch range of the normal A clarinet, the structure of the piece allows various timbres and extended effects to come to prominence as mood and momentum change. Static or forward-moving, playful, aggressive or wailing, the musical narrative seeks through abstract paths to communicate an ‘inner beauty’ as well as ‘inner necessity’. Processes in the work are often varied as they are repeated, in a single line or between the two performers, echoing Kandinsky’s proposition that ‘forces coming from without, which transform the point into a line, can be very diverse indeed. 'Point forms' was commissioned by the Rushworth Trust, and is dedicated with affection to Mark Simpson. Ken Hesketh (2010)