Acequia Madre 林德贝里．马格努斯 竖笛 1把以上加钢琴 博浩版

曲家说："《Acequia Madre》展示了我在创作时（2012 年）在音乐表现风格上的一种新方法：以旋律为重点构建作品。我通过我的一个仪式从其他创作艺术家那里汲取灵感： 我把自己包围在作曲家的乐谱中，这些作曲家出于某种原因在我脑海中留下了深刻印象，如伊尼斯-谢纳基思（Iannis Xenakis）、阿尔班-贝格斯（Alban Bergs）的《单簧管与钢琴四重奏》（Four Pieces for clarinet and piano）、贝拉-巴托克（Béla Bartók）的《小提琴、单簧管与钢琴对比》（Contrasts for violin, clarinet and piano），以及舒伯特（Schuberts）的《第15号弦乐四重奏》（String Quartet no 15）。征服技术难题是我在演奏原声乐器时特别有成就感的一件事：我深知当今的电子设备可以战胜作曲家最苛刻的技术挑战，但我喜欢演奏者以高超的技艺与他们的乐器相遇，演奏出似乎超越物理界限的作品。 注：该作品的两个版本（单簧管与钢琴、中提琴与钢琴）在程度上有所不同。因此，各钢琴声部不可互换"

作曲家: Lindberg, Magnus
乐器: clarinet in Bb and piano
出版社: Boosey & Hawkes
原文简介:
The composer states:“Acequia Madre demonstrates an approach which was somewhat new to the style of my musical expression at the time of its composition [2012]: structuring a work with the focus on its melodic aspects. I drew inspiration from other creative artists through one of my ‘rituals’: I surrounded myself with the scores of composers who, for one reason or another, were on my mind at the time, like Iannis Xenakis, Alban Berg’s Four Pieces for clarinet and piano, and Contrasts for violin, clarinet and piano by Béla Bartók, plus Schubert’s haunting, final String Quartet no 15. Conquering technical difficulties is something I find particularly rewarding when playing acoustic instruments: fully aware that today’s electronics can triumph over a composer’s most demanding technical challenges, I love the idea of performers encountering their instruments with virtuosity … doing something that seems to defy physical boundaries.” Note: The two versions of the work (clarinet & piano, viola & piano) differ in extent. The respective piano parts are therefore not interchangeable.