Night Pieces: Five Preludes for Piano 小品 前奏曲 钢琴

在皮埃尔-布列兹的 Domaine Musical 音乐会以及法国广播电台（ORTF）的音乐会上，我有过一次难以忘怀的经历。尽管 1961 年我回国时，美国人似乎对布列兹-斯托克豪森-贝里奥的音乐世界兴趣不大，但作为钢琴家，我将着手纠正这一缺失，当时我只在西海岸取得了成功。《夜曲》是我在巴黎创作的，当时我刚刚开始了解当前的欧洲国际风格，并在巴黎首演。然而，我从未想过要摒弃过去的任何音乐参照，包括调性，就像当时许多作曲家所做的那样--乐曲中的第一个音是C大调三和弦，在1960年是一个令人震惊的和弦。我从当时流行的风格中吸收的是它对常规节拍的解放，而其姿态语言在很大程度上源自布列兹和相关的钢琴音乐。(最后一首前奏曲中对勋伯格的引用是一种致敬）。献曲者戴维-柴特金（David Chaitkin）也住在大学城，当时我还在那里。他是一位优秀的作曲家，但还不够出名；他于 2011 年去世。---威廉-博尔科

作曲家: William Bolcom
乐器: Piano
出版社: Edward B. Marks Music Company
原文简介:
I had an overwhelming experience at Pierre Boulez's Domaine Musical concerts, as well as those of the French Radio (ORTF) that also specialized in the very newest music (a year-old piece was already passé). Although there seemed little interest in the Boulez-Stockhausen-Berio musical world in the U.S. when I returned in 1961, I would as pianist set out to rectify this omission, then only successfully on the West Coast. Night Pieces was written in Paris, shortly after I began my acquaintance with the current European international style, and premiered there. I never, however, wanted to eschew any musical reference from the past, including tonality as so many composers did then-and the first sound in the pieces is a C-major triad, in 1960 a shocking chord. What I did absorb from the prevailing style was its liberation from regular meter, and the gestural language is largely derived from Boulez andrelated piano music. (The reference to Schoenberg in the last prelude is an hommage.) David Chaitkin, the dedicatee, also lived at the Cité Universitaire when I was there. A fine composer, not well known enough; he passed away in 2011. ---William Bolcom