Romancendres 霍利格 浪漫曲 大提琴加钢琴 朔特版

1853年，罗伯特-舒曼创作了五首钢琴伴奏大提琴浪漫曲。这些作品从未出版，因为克拉拉-舒曼在创作 40 年后的 1893 年销毁了未出版的手稿。海因茨-霍利格（Heinz Holliger）在他的六首大提琴与钢琴二重奏中提到了这些化为灰烬的作品：标题是法文 "romances "和 "cendres "的组合。音乐本身也隐藏着许多典故。例如，在开头的游行部分，人们可以听到克拉拉-舒曼的名字缩写 C 和 eS [Eflat]，钢琴吟诵了勃拉姆斯写给克拉拉的一封信，最后部分的最后一个音符是由他的逝世地 EnDEniCH 的音调构成的。不过，无论是业余还是有经验的听众，都会立刻被霍利格斯的音乐所吸引。这部作品的感染力不仅在于其复杂的构思，更主要的是其强烈的音色"

作曲家: Holliger, Heinz
乐器: cello and piano
出版社: Schott Music

曲目:
Kondukt I (C.S. - R.S.) - I Aurora (Nachts) - II (R)asche(s) Flügelschlagen - III Der Würgengel der Gegenwart - IV heiter bewegt (Es wehet ein Schatten darin) - Kondukt II (Der bleiche Engel der Zukunft)

原文简介:
In 1853 Robert Schumann composed five piano-accompanied cello romances. The works were never published though as Clara Schumann destroyed the unpublished manuscript in 1893, 40 years after they were written. In his six duo pieces for violoncello and piano, Heinz Holliger refers to these compositions which turned to ash: the title is a combination of the French words ‘romances’ and ‘cendres’. Many allusions are hidden in the music itself. In the opening procession part, for example, one can hear Clara Schumann’s initials C and eS [E flat], a letter of Brahms to Clara is recited by the piano, and the last figure of the final part is formed from the tones of his place of death, EnDEniCH. But both amateur and experienced listeners will at once be gripped by Holliger’s music. This work is affecting – not only by its complex conception but mainly by its intense sonority.