Melos 狄奥多拉奇斯 钢琴独奏 朔特版

这部作品以两部歌曲集《Lyrikotera》（根据 Dionysis Karatzas 的诗歌改编，1995 年）和《Lyrikotata》（根据 Yiannis Theodorakis 的诗歌改编，1996 年）为基础。作曲家与两位钢琴家 Themis Simvoulopoulos 和 Tatiana Papageorgiou 合作创作了钢琴曲的最终版本。这两部作品的标题表明，这些作品创作于作曲家的抒情时期，因此他将 1986 年以后的所有作品都称为 "内部抒情体验 "的一部分。在此期间，他创作了近期最重要的三部作品，即抒情悲剧（歌剧）《美狄亚》、《伊莱克特拉》和《安提戈涅》。他的 12 首钢琴'梅洛斯'既是对神话中旋律形象梅洛斯的致敬，也是对它的敬意。《普雷卢尔德》钢琴曲部分的音乐语言以简洁和克制为特点，而《梅洛斯》--音乐思想以层迭的和弦和节奏为装饰--则标志着作曲家向浪漫主义时期的钢琴语言的回归"

作曲家: Theodorakis, Mikis
乐器: piano
出版社: Schott Music
原文简介:
This work is based on two song cycles, ‘Lyrikotera’ (to poems by Dionysis Karatzas, 1995) and ‘Lyrikotata’ (to poems by Yiannis Theodorakis, 1996). The composer created the final version for piano in collaboration with the two pianists Themis Simvoulopoulos and Tatiana Papageorgiou. The titles of the two cycles indicate that these works were created during the composer’s lyrical period which led to him designating his entire output from 1986 onwards as part of his ‘interior lyrical experience’. During this period he composed his three most significant recent works, the lyrical tragedies (Operas) Medea, Electra, and Antigone. His 12 ‘Melos’ for Piano are both tribute and homage to Melos, the mythological figure of melody.Whereas the musical language in the piano part of the Préludes is characterized by sobriety and restraint, Melos - where the musical ideas are ornamented with cascades of chords and rhythms - signifies the return of the composer to the pianistic language of the Romantic period.