Rückblick In Erinnerung an die Reichspogromnacht 9. November 1938 竖笛 1把以上加钢琴 柏特-柏克版

乌苏拉-马姆洛克的作品中，"昭和 "从来都不是一个主题，但她于 2002 年受天普大学之托为纪念水晶之夜而创作的萨克斯管与钢琴作品《Rückblick》除外。慢板和快板之间的对比比她在这一时期创作的其他作品要精细得多，快板部分显得有些急促，而钢琴部分则在片刻间表现出一种不为人知的严厉。在第三乐章接近尾声时，咏叹调和转瞬即逝的姿态突然相互推向对方。第一快板乐章产生于对尝试性的破坏。挽歌》（第二乐章）在对其最初主题的四重提醒中消逝，最后的尝试仍然是零碎的。第四乐章《哀歌》以一个回到开头的图形结束

作曲家: Mamlok, Ursula
乐器: bass clarinet and piano
出版社: Bote & Bock
原文简介:
The Shoa never was a theme in the works of Ursula Mamlok – with the exception of Rückblick for saxophone and piano which she wrote in 2002 on commission of the Temple University in memory of Kristallnacht. The contrast between slow and fast movements is much more elaborate than in her other works from that period, with the fast movements appearing somewhat driven while the piano part for a few moments adopts an otherwise unknown severity. Near the end of the third movement, cantabile and fleeting gestures are suddenly pushed toward each other. The first fast movement arises from the destruction of attempted cantability. The Elegy (2nd movement) dies away with a four-fold reminder of its initial motif, the last attempt remaining fragmentary. The fourth movement Lament concludes with a figure that returns to its beginning.