Bridgetower Fantasy for violin and piano 幻想曲小提琴钢琴 小提琴加钢琴 朔特版

克鲁采奏鸣曲》最初不是献给鲁道夫-克鲁采（他从未演奏过这首曲子），而是献给乔治-布里奇塔尔，一位 18 世纪著名的非欧音乐会小提琴家。在早期的草稿中，贝多芬开玩笑地给这首曲子贴上了鲜明的种族标签： 贝多芬和布里奇塔尔进行了首演，从各方面来看都很成功，小提琴家甚至即兴进行了一些润色。事后，两人在庆祝时发生争执，贝多芬认为布里奇塔尔侮辱了一位女性熟人；作曲家随即撤销了最初的献词，改用克罗伊泽的名字。这部作品广受赞誉，而布里奇塔尔的事业却萎靡不振；他最终在贫困中去世。布里奇塔尔一直是大量研究和猜测的主题，其中最著名的是诗人丽塔-多夫（Rita Dove）的著作《Sonata Mulattica》。从我们 21 世纪的视角来看，考虑到布里奇托尔的独特境遇，我们只能将他视为一个模棱两可的人物，他体现了差异，激起了灵感、幻想、欲望、愤怒，最后是抹杀。我的作品是关于乔治-布里奇塔尔的想象的集合。它不是程序化的，但具有情节性，由对比鲜明的片段组合而成。舞蹈节奏、重复出现的人物和手势轮廓旨在突出表演者的专业技能和表现力，他们有时必须接触到边缘声音并执行复杂的同步动作。我非常感谢珍妮-许和沙伊-沃斯纳让我参与到他们优美、精湛的音乐创作中"

作曲家: Iyer, Vijay
乐器: violin and piano
出版社: Schott Music
原文简介:
The Kreutzer Sonata was originally dedicated not to Rudolphe Kreutzer (who never performed it) but to George Bridgetower, a famed 18th-century Afro-European concert violinist. In an early draft, Beethoven jokingly labeled the piece in starkly racialized terms: Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.Beethoven and Bridgetower performed the premiere, which was by all accounts a success, and even featuring some improvised embellishment by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower's insult of a female acquaintance; the composer then revoked the original dedication, adding Kreutzer's name instead. The work gained acclaim, while Bridgetower's career languished; he eventually died in poverty.Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove's book, Sonata Mulattica. From our 21st-century vantage, considering Bridgetower's unique circumstance, we can only see him as an ambiguous figure who, in embodying difference, provoked inspiration, fantasy, desire, anger and, finally, erasure.My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting fragments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny Koh and Shai Wosner for involving me in their beautiful, virtuosic music-making.