Concerto op. 12 怀尔 协奏曲 总谱 环球版

库尔特-威尔的创作精力主要集中在音乐剧领域，事实证明他是一位极富创造力和想象力的创新者，但他也为音乐厅留下了少量作品。小提琴与管弦乐队协奏曲作品 12 创作于 1924 年春。该协奏曲为两支长笛、单簧管、巴松管、圆号、一支双簧管和小号、打击乐和四支低音提琴而作，由三个乐章组成。在创作这部作品时，魏尔告诉他的出版商："我正在为小提琴和管弦乐队创作一部协奏曲，希望能在两三周内完成。这部作品的灵感来自于将单把小提琴与管乐合唱并置的想法--这种想法以前从未实现过。

作曲家: Weill, Kurt
编者: Eichhorn, Andreas
乐器: for violin and wind orchestra
出版社: Universal Edition
原文简介:
Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.'
The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)