Post scriptum Sonata for violin and piano 席威斯特洛夫 奏鸣曲小提琴钢琴 小提琴加钢琴

西尔维斯特罗夫的小提琴奏鸣曲《Post scriptum》是他的另一首室内乐后奏曲。作曲家曾说过，作品的标题意味着它是莫扎特和整个古典传统的后记。文本已经写好。我们只需添加注释、思考、疑问、惊愕、惊讶和遗憾。古典音韵开始在其他时空飘荡。不再有能力预测某物的含义，取而代之的是神秘的象征意义（V. Silvestrov）。短短的三乐章奏鸣曲循环出现在持续数秒的沉默中。无法指出具体的模式。乐谱中反复出现的演奏记号leggiero、dolcissimo、in the distance 和 con moto（具有idée fixere的特征），强化了这一真实音乐的想象特征。随着乐曲的发展，人们越来越难以感知传统音型的轮廓。第二乐章中西尔维斯特罗夫独具特色的行板动机仍占主导地位，而终曲却已近乎不可闻。 塔蒂亚娜-弗鲁姆基思）

作曲家: Silvestrov, Valentin
乐器: violin and piano
出版社: M.P. Belaieff Musikverlag
原文简介:
Silvestrov’s violin sonata “Post scriptum” is another of his chamber music postludes. The composer once stated that the title of the work signifies that it is “a postscript to Mozart and the whole classical tradition. The text has already been written. We simply add our annotations, thoughts, questions, consternation, astonishment and regret. The classical phonemes begin to waft through other times and spaces. There is no longer such a thing as the ability to predict what something means, and its place is taken by a mysterious symbolism.” (V. Silvestrov). A short three-movement sonata cycle emerges out of periods of silence lasting several seconds. It is impossible to point to a specific model. Classical idioms which have acquired the anonymous status of folklore hover in our minds, and the recurring performance marks in the score–“leggiero”, “dolcissimo”, “in the distance” and “con moto”, which has the character of an idée fixe–reinforce the imaginary character of this “real” music. As the piece progresses, it becomes increasingly difficult to perceive the contours of the traditional patterns. Whereas Silvestrov’s characteristic cantabile motives still predominate in the second movement, the finale already verges on inaudibility.” (Tatiana Frumkis)