Cadenzas Concerto for violin and orchestra 艾得斯 装饰乐段协奏曲小提琴管弦乐团 小提琴独奏 朔特版

在与小提琴家彼得-赫雷斯塔尔（Peter Herresthal）的一次谈话中，我们谈到了利盖蒂的小提琴协奏曲乐谱中的 "邀请"，即为作品提供一段快板。彼得建议我响应这一邀请，我欣然接受。我完全遵照作曲家的指示：快板可以使用所有五个乐章中的素材，并应自始至终具有 "紧张 "的特点。我的目标还包括写出一段快板，而结尾的管弦乐尾奏则是快板的必然结果。(托马斯-阿德斯)快板也可由独奏者创作，最长可达 1-2 分钟。它应该自始至终都很紧张（继续演奏激昂的molto），但也可以将所有五个乐章中的旋律素材自由组合在一起。在接近尾声时，节奏应为急板，左手和弓弦乐交替演奏，表现出疯狂的演奏技巧。快板没有真正的结束，在 R 处突然被乐队打断（独奏者与指挥商定）。这一中断是在毫无准备的情况下突然发生的。此时独奏者应在高位置（上弦）以最大速度演奏。独奏小提琴在高音木块进入时突然静止。捷尔吉-里盖蒂

作曲家: Adès, Thomas
乐器: violin
出版社: Schott Music
原文简介:
In a conversation with the violinist Peter Herresthal, we touched on the “invitation” in the score of Ligeti’s Violin concerto to provide a cadenza for the work. Peter suggested that I answer this invitation and I was happy to accept. I followed all the composer’s directions exactly: the cadenza may use material from all five movements, and should be of “hectic” character throughout. I also aimed to write a cadenza of which the closing orchestral coda would be an inevitable result. (Thomas Adès)The cadenza can also be composed by the soloist and can last up to 1-2 minutes. It should be hectic throughout (continuation of the appassionata agitato molto), but can incorporate melodic material ad lib. from all five movements. Towards the end, the tempo should be prestissimo with alternating arco and left hand pizz. in mad virtuosity. The cadenza has no real end and is suddenly interrupted by the orchestra at R (as agreed between soloist and conductor). This interruption occurs suddenly as if unprepared. The soloist should at this point be playing in high positions (on the top string) at maximum velocity. The solo violin abruptly falls silent on the entry of the high woodblock. György Ligeti