Mozart-Adagio 佩尔特˙阿尔沃 钢琴三重奏 环球版

阿尔沃-帕尔特为小提琴、大提琴和钢琴创作的《莫扎特-阿达吉奥》（1992 年）是受赫尔辛基音乐节的委托，为卡利奇施泰因-拉雷多-罗宾逊三重奏所作，并在赫尔辛基音乐节首演。这首曲子是为了纪念奥列格-卡根，他是阿尔沃-帕特的朋友，也是俄罗斯著名的小提琴家之一。卡根对莫扎特的音乐有着特殊的感情，为了纪念这位小提琴家，作曲家转录了这位年轻作曲家的钢琴奏鸣曲中最有感染力的乐章之一，即《F大调奏鸣曲，K.280》中的Adagio。阿尔沃-帕特的《莫扎特-Adagio》既不是改编曲，也不是拼贴曲。帕特对原作的处理并不俏皮（正如他受巴赫启发而创作的作品《Wenn Bach Bienen gezüchtet hätte》），而是谨慎而尊重。莫扎特的作曲风格和帕特的丁丁纳布利风格在其中取得了平衡，因此出现了 18 世纪和 20 世纪之间的精神交汇。在原作的基础上，作曲家加入了适度的引子、间奏和尾声，以及克制而持续的 "评论"。引子和尾声由最简单的素材组成--大提琴和小提琴在二度和三度的 "谦逊 "二重奏中演奏离散的单音。在 "评论 "部分，作曲家采用了莫扎特在这一乐章中最关注的音程--小二度，并在乐曲中加入了这种不和谐的音色。阿尔沃-帕特在悼念失去的朋友时，似乎采用了莫扎特不常使用的不协和音调，使这一悲伤的象征不可避免地贯穿了整部作品"

作曲家: Paert Arvo
乐器: violin, cello and piano
出版社: Universal Edition

曲目:
Mozart-Adagio für Violine, Violoncello und Klavier (1992), rev. 2005)

原文简介:
Arvo Pärt's Mozart-Adagio (1992) for violin, cello and piano was composed for the Kalichstein-Laredo-Robinson Trio on commission by the Helsinki Festival, where it was premiered. The piece is in memory of Oleg Kagan, who was a friend of Arvo Pärt's and one of Russia's leading violinists. Kagan had a special affinity with the music of Mozart and the composer memorialises the violinist by transcribing one of the most affecting movements of the youthful composer's piano sonatas, the Adagio from the Sonata in F Major, K. 280. Arvo Pärt's Mozart-Adagio is neither an arrangement nor a collage. Pärt's approach to the original work is not a playful one (as it was with his Bach-inspired piece Wenn Bach Bienen gezüchtet hätte) - rather, it is cautious and respectful. Aspects of Mozart's composition and Pärt's Tintinnabuli style are in balance so that there emerges a spiritual encounter between the 18th and 20th centuries. To the original, the composer adds a modest introduction, interlude, and coda, as well as a restrained and ongoing 'commentary'. The introductory and concluding frame consists of the simplest material - cello and violin playing discrete single notes in a 'humble' duet of seconds and thirds. For the 'commentary', the composer takes the interval of Mozart's preoccupation in this movement, the minor second and peppers the texture with this dissonant sonority. In lamenting the loss of a friend, Arvo Pärt seems to take the dissonance that Mozart uses so sparingly and makes this symbol of sorrow permeate, inescapably, the entire piece.