Circe Invidiosa: Sonata No. 1 for the Piano 奏鸣曲 钢琴

英国画家约翰-威廉-沃特豪斯（John William Waterhouse，1849--1917 年）的作品具有拉斐尔前派风格，这是 19 世纪中后期流行的一种艺术运动，强调大胆的色彩、精细的细节和复杂的构图。1892 年，沃特豪斯完成了《Circe Invidiosa》，这是三幅描绘希腊神话中魔法和巫术女神 Circe 的作品中的第二幅。Circe Invidiosa：第一钢琴奏鸣曲》是一首单乐章奏鸣曲，采用奏鸣曲-快板形式。乐曲的和声框架采用了中板关系、三度升和弦或三度降和弦来支撑对比鲜明的主题。节奏在这首奏鸣曲中起着核心作用。不断变化的节拍使整首曲子的脉搏不稳定，产生了一种类似于托卡塔的效果，让人想起沃特豪斯笔下癫狂的西尔塞。开头的第一主题以快速的琶音为特征，要求演奏者双手交错演奏。双手在键盘上快速移动的琶音描绘了西拉池水的漩涡。第二主题是柔美的 Andante con moto，其间的半音阶听起来越来越阴险。这两个主题在乐曲的发展部中有所变化。整首乐曲中，简短的动机与复杂的节奏和音色相结合，传达出沃特豪斯笔下的 "Circe Invidiosa "的内省、内心冲突和激情。这部作品是2014年由美国全国音乐教师协会和北达科他州音乐教师协会联合委托创作的"

作曲家: Tom Gerou
乐器: Piano
出版社: Alfred Music
难度: Advanced;
原文简介:
English painter John William Waterhouse (1849--1917) worked in Pre-Raphaelite style, an artistic movement popular in the mid to late 19th century that emphasized bold colors, fine details, and compositional complexity. In 1892, Waterhouse completed Circe Invidiosa, the second of three depictions of Circe, the mythological Greek goddess of magic and sorcery. Circe Invidiosa: Sonata No. 1 for the Piano is a one-movement sonata written in sonata-allegro form. The harmonic framework of the piece uses mediant relationships, ascending or descending progressions by 3rds, to support its contrasting themes. Rhythm plays a central role in this sonata. The unstable pulse throughout the piece, created by constantly changing meters, produces a toccata-like effect reminiscent of the maniacal Circe depicted by Waterhouse. The opening first theme is characterized by rapid, arpeggiated flourishes and a texture that requires the performer to play with interlocked hands. Two-hand arpeggios moving swiftly up the keyboard depict the swirling waters of Scylla's pool. A tender Andante con moto second theme is marked by increasingly sinister-sounding chromaticism. These two themes are manipulated in the development. Throughout the piece, short motives combine with intricate rhythms and sonorities to convey the introspection, internal conflict, and passion within Waterhouse's Circe Invidiosa. This work was jointly commissioned by the Music Teachers National Association and North Dakota Music Teachers Association in 2014.