Rigoletto Concert-Paraphrase about the quartet by Franz Liszt 弄臣模拟曲 四重奏 钢琴独奏 朔特版

在李斯特的全部作品中，歌剧改编曲占有重要地位，是与原创作品并驾齐驱的独立艺术形式。Feruccio Busoni 高度评价了这些作品的艺术价值，认为它们在形式安排和对比方面经过深思熟虑的结构规划，以及对所选主题进行扩展和美化的努力，使李斯特的歌剧幻想曲从平民化的大杂烩中脱颖而出。早期的威尔第改编曲，尤其是这首创作于 1859 年的《里戈莱托-改编曲》，远远优于后来的改编曲（包括根据《唐-卡洛斯》和《阿依达》改编的改编曲）。这首根据歌剧史上最著名的四重奏改编的音乐会曲目极为精彩，其特别之处在于李斯特能够以独特的方式将极端对比的并置--公爵热烈的爱情宣言、玛德莱娜喋喋不休的拒绝、吉尔达悲痛欲绝的咏叹调和里戈莱托愤怒的帕兰多--如威尔第的原作一样，融合在一起，形成了奇妙的形式统一"

作曲家: Liszt, Franz / Verdi, Giuseppe Fortunino Francesco
乐器: piano
出版社: Schott Music
原文简介:
The opera paraphrases take a prominent place among Liszt's complete works as a self-contained art form alongside original compositions. Feruccio Busoni values the high artistic merit of these compositions in the manner in which their well-considered structural planning in the arrangement of form and contrast and the endeavour to expand and embellish the chosen motifs place Liszt's opera fantasies apart from the plebeian potpourri. The early Verdi paraphrases, particularly this Rigoletto-Paraphrase composed in 1859, are far superior to the later paraphrases (including those based on Don Carlos and Aida). This exceedingly brillant concert piece based on arguably the most famous quartet in the history of opera is particularly significant for the unique way in which Liszt is able to bring together the juxtaposition of extreme contrasts - the Duke's ardent declaration of love, Maddalena's prattling rejection, the grief-stricken cantilene of Gilda's and Rigoletto's furious parlando - as in Verdi's original, resulting in a marvellous formal unity.