Quasi Hoquetus for Viola, Cello and Piano 古拜杜莉娜 钢琴三重奏

这部作品创作于 1984 年（最初的乐器为中提琴、巴松管和钢琴），追溯到中世纪的 "hocket"（源自布列塔尼语 "打嗝 "之意）技巧。在这种技法中，旋律被分割成若干片段，这些片段以开放式的 "丝状 "纹理在所有声部中游弋。然而，在古拜杜丽娜的作品中，"打嗝 "不仅包含了旋律参数，更重要的是和声和音色。花丝乐章逐渐形成一个线性的连续体，其中以十字和数字（如七和十三）为形式的精神象征尤为重要。这部作品在形式、和声和音调结构上与众不同，并明显参考了约翰-塞巴斯蒂安-巴赫（Johann Sebastian Bach）的作品，在某种程度上忠于传统。然而，这部作品也有真正的创新，令人耳目一新，尤其是在中提琴的和声处理、巴松管的多音位以及钢琴的音群方面。在这部精湛的室内乐作品中，传统与创新这两个方面完美地结合在一起，反映了古拜杜丽娜与传统之间独特的个人关系。"我的理想是一种与传统和新作曲手段的关系，在这种关系中，艺术家掌握了所有这些手段，包括新的和传统的--但他这样做的方式让人觉得他并不关注其中任何一种。有些作曲家会有意识地构建自己的作品，而我则属于那些喜欢 "培养 "自己作品的人。这就是为什么我所能吸收的整个世界在某种程度上构成了一棵树的根，而它的枝叶则是由此生长出来的作品。人们可以说它们是新的，但归根结底它们仍然是树叶，因此它们始终是传统的、古老的"。(Sofia Gubaidulina）这部作品献给 Mikhail Tolpygo、Valeri Popov 和 Alexander Bakhchiyev"

作曲家: Sofia Gubaidulina
乐器: Cello; Piano; Viola
出版社: Sikorski
原文简介:
Composed in 1984 (original instrumentation was viola, bassoon and piano), this work harks back to the medieval technique of the “hocket” (which comes from the Breton word for “hiccups”). It is a technique in which a melody is broken up into fragments which then roam through all the parts in an open, “filigree” texture. In Gubaidulina's work, however, the hocket embraces not only the melodic parameter, but also and above all the harmony and timbres of her material. The filigree writing consolidates itself gradually into a linear continuum, whereby spiritual symbolism in the form of cross and number figures (e. g. seven and thirteen) takes on a particular importance. The work pledges a certain allegiance to tradition in its distinct formal, harmonic and tonal structure and in its obvious references to Johann Sebastian Bach. However, it is also genuinely and refreshingly innovative, particularly in the treatment of the harmonics in the viola, the multiple stops on the bassoon and the clusters in the piano. Brought to a consummate synthesis in this masterful chamber music work, these two aspects - tradition and innovation - reflect Gubaidulina's uniquely personal relationship to her heritage. “My ideal is a relationship to tradition and to new compositional means in which the artist masters all of these means both new and traditional- but does so in a way that makes it seem he is paying no attention to either of them. There are composers who construct their works very consciously; I, however, number myself among those who prefer to 'cultivate' their works. This is why the entire world which I can assimilate constitutes, in a way, the roots ofa tree; its branches and leaves are the works which grow from it. One can call them new, but in the end they are still leaves, and thus they are always traditional, old”. (Sofia Gubaidulina) The work is dedicated to Mikhail Tolpygo, Valeri Popov and Alexander Bakhchiyev.