Two Episodes 林德贝里．马格努斯 颂歌 总谱 博浩版

这部作品由伦敦爱乐乐团委托创作，是贝多芬第九交响曲的伴奏作品。正如马丁-安德森（Martin Anderson）所解释的，"马格努斯-林德伯格（Magnus Lindberg）的《两段插曲》也许是音乐史上第一次尝试反映人们偶尔在建筑中发现的一种程序：它相当于在一些古老而令人尊敬的建筑上添加了一个现代的门廊"。林德伯格对贝多芬情有独钟： 林德伯格对贝多芬情有独钟："如果真的要我从经典作品中选择一位作曲家，那一定是贝多芬，因为他是当代作曲家的典范--就像我自己生前的伊尼斯-谢纳基思（Iannis Xenakis）一样......《两集》自然分为两个不同的部分： 一个部分与贝多芬第一乐章的巨大冲击力相关联，其巨大的tutti写作充满了大胆的声音和能量，而第二个部分则更接近于慢板乐章的美感，是通往开放五度A和E及其D小调终点（贝多芬第九乐章的调性）的桥梁... 我没有引用贝多芬的名言，而是在乐曲中加入了许多贝多芬的典故，这样就有了清晰的听觉联系，配器也与交响乐相匹配，因此乐曲具有'时代'色彩，但没有我许多作品中的竖琴、钢琴和奇异的打击乐。 " 这部作品有两种结局：第一种结局让《两段插曲》直接进入贝多芬的《第九交响曲》，没有中断，这也是最初的意图。第二个结尾是一个完整的结尾，可以分别演奏两部作品"

作曲家: Lindberg, Magnus
乐器: orchestra
出版社: Boosey & Hawkes
原文简介:
This work was commissioned by the London Philharmonic Orchestra as a companion piece to Beethoven’s Symphony No. 9. As Martin Anderson explains, “Magnus Lindberg’s Two Episodes attempt – perhaps for the first time in the history of music – to mirror a procedure one occasionally finds in architecture: it is the equivalent of adding a modern portico to some old and revered building.” Lindberg has a particular fondness for Beethoven: “If I was really pressed to choose just one composer from the classical canon it would have to be Beethoven, because he stands out as an example of what it is to be a contemporary composer – just as much as figures like Iannis Xenakis in my own lifetime … Two Episodes falls naturally into two distinct sections: one is linked to the massive impact of Beethoven’s first movement, with its immense tutti writing, full of bold sounds and energy, while the second is closer to the beauty of the slow movement and acts as a bridge towards the open fifth A and E and its D minor destination [the key of Beethoven’s Ninth] … Rather than incorporate quotations, I’ve embedded a number of Beethovenian allusions, so there are clear aural links, and the orchestration matches the symphony, so it has a ‘period’ colour, without the harp, piano and exotic percussion that feature in many of my works.” The work incorporates alternative endings: the first allows Two Episodes to lead directly into Beethoven’s Symphony No. 9 without a break, as originally intended. The second ending comprises a full close, allowing for separate performance of the two works.