Klar/Obskur 钢琴三重奏 朔特版

意大利文艺复兴时期的画家们发展出的明暗对比技术可以加强对比度和光学深度效果。在《克拉尔/奥布斯库尔》中，我试图将这一技术的总体理念移植到两支双簧木管乐器和钢琴这一不同寻常的乐器上。一方面，清晰、铿锵的演奏是这些乐器的特点，另一方面，它们往往具有被低估的 "暮光 "潜能：空气声和脆弱、阴暗的色彩在双簧管乐器（通常，表面上看，双簧管乐器不如长笛或单簧管有分辨声音的能力）的演奏下尤其具有吸引力。钢琴在打击乐和细腻的演奏之间也有广泛的可能性，与木管乐器相辅相成，而木管乐器则可以吸收和延续渐弱的钢琴声。开头引入了构成乐曲基本素材的两个对比元素：一个清晰、尖锐的和弦，随后是脆弱、暗淡的声音。这些元素之间的变化以及它们的组合和混合产生了巨大的色彩和姿态。在这个 "格言式 "的开头之后，是四个截然分开的小段，每个小段都有一个明确的质地：部分几乎难以察觉的气音段落、一连串微缩音、一连串精湛的演奏，以及重新回到开头的脆弱音色。第二段较长的主体部分由三个部分组成，三个部分之间巧妙地相互融合：一个标有弹性[federnd]的简短单音段落被分解成基本要素；从这些残余部分中，出现了低沉、"神秘 "的巴松管和钢琴声的对抗，以及双簧管的强烈装饰性旋律线，最终形成一个简短而有力的高潮。乐曲最后是一个延长的、轻松的尾声，包括一段简短的钢琴独奏以及双簧管和巴松管的二重奏，最后引用了中间部分的 "弹性 "特征。本杰明-史怀哲

作曲家: Schweitzer Benjamin
乐器: oboe, bassoon and piano
出版社: Schott Music
原文简介:
The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer
难度: difficult