Visions Fugitives op. 22 普罗科菲夫 瞬间幻影 钢琴独奏 博浩版

在创作第二和第三钢琴奏鸣曲（1912-1917 年）期间，普罗科菲耶夫为各种乐器创作了大量作品。除《逃亡者的憧憬》外，还包括芭蕾舞剧《Chout》和《赌徒》、古典交响曲、第一小提琴协奏曲、第二钢琴协奏曲和各种歌曲。在这一时期，他对带有多调性色彩的打击乐的痴迷达到了顶峰（但《古典交响曲》显然是个例外）。尽管《Visions Fugitives》的风格与《第五奏鸣曲》（1923 年）的奇特和声相近，但总体而言，它比任何一首钢琴奏鸣曲的二声部基础都要薄弱。作曲家这种自发的灵感形式似乎使他能够在《逃亡者的幻象》中创作出一套自成一体的微型乐曲，这些乐曲造型完美、连贯一致，但在整体演奏时又包含一个逻辑顺序。通过对其短篇作品的研究，我们可以了解到在演奏后期作品时清晰度和节奏感的重要性。在《逃亡者的幻觉》中，这些质量的必要性一目了然"

作曲家: Prokofieff, Serge
校订者: Schneider, F.H.
乐器: piano
出版社: Boosey & Hawkes
原文简介:
Between the composition of the second and third piano sonatas (1912-1917), Prokofieff wrote a variety of works for a great diversity of instruments. Besides 'Visions Fugitives' these include the ballets 'Chout' and 'The Gambler', the Classical Symphony, the first Violin Concerto, the second Piano Concerto and various songs. This was an immensely productive period during which his obsession with percussive sounds coloured by polytonality was at its height (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based than any of the piano sonatas although the style is perhaps closet to the harmonic quirkiness of the Fifth Sonata (1923).Prokofieff's compositional process habitually involved the jotting down of musical ideas as they occured to him, to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce, in 'Visions Fugitives', a set of self-contained miniatures, perfectly shaped and coherent, yet comprising a logical sequence when played as a whole.The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofieff's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for these qualities is immediately apparent in 'Visions Fugitives'.