Fantasie for Clarinet solo 魏德曼 幻想曲 竖笛独奏 朔特版

约尔格-维德曼（Jörg Widmann）是国际上炙手可热的独奏家，也是弗莱堡音乐学院的单簧管教授，他在为单簧管和钢琴而作的《Fünf Bruchstücke》（已出版）（KLB 54）以及为单簧管独奏而作的《幻想曲》中展现了当代单簧管音色的精致细腻。在《Fünf Bruchstücke》中，噪音作为一种表达方式受到了极大关注，而《Fantasie》则主要基于浪漫主义旋律的惯常音色，不过这一次，它以讽刺的方式将舞蹈、克莱兹梅尔音乐和爵士音乐（相当于单簧管的轻音乐）融入其中。单簧管独奏《幻想曲》是我为自己的乐器单簧管创作的第一首真正意义上的作品。它以其古怪的演奏技巧和欢快、讽刺的基本特征，反映了 1919 年斯特拉文斯基的 3 首单簧管独奏曲的经验，以及在卡尔-玛丽亚-冯-韦伯为单簧管记谱之前音乐中从未出现过的音调创新，并以一种新的方式将其进一步发扬光大。约尔格-维德曼（Jörg Widmann）......关于诠释：重要的是要完全按照标题的字面意思来理解--这就是为什么演奏者当然要带着想象力来演奏这首曲子。结构方面最重要的信息是：完全没有小节线--每当学生或其他人向我演奏这首乐曲时，我总是为演奏者自己的想法以及音乐文本的字面意义和严肃性而感到高兴，其中既有所有的动态和衔接标记，又充满了生命力和想象力。然而，我总是注意到，节奏明快的脉搏部分往往演奏得像一首小曲，而不是充满想象力。对我个人而言，最重要的是，即使时间要求严格，也要在音调的区分中获得乐趣。发挥您的想象力，尽情演奏我的'幻想曲'吧！--约尔格-维德曼"

作曲家: Widmann, Joerg
乐器: clarinet in Bb
出版社: Schott Music
原文简介:
Jörg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fünf Bruchstücke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fünf Bruchstücke', 'Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music. 'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in a new way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte.- Jörg Widmann...on the interpretation:It would be important to take the title completely literally – which is why the performer should of course play the piece with imagination. The most important information on the structure: the complete absence of bar lines – whenever the piece is played to me by students or other persons, I am always pleased about the player's own ideas and about the fact that the musical text is taken literally and seriously, with all its dynamic and articulation marks, and yet filled with life and imagination. What I always notice, however, is that the rhythmic fast pulse part is often played like an étude, rather than with imagination. What is most important to me, personally, is to take pleasure in making tonal distinctions, even despite the strict timing. Use your imagination and enjoy playing my 'Fantasie'!- Jörg Widmann