Tagebuch 145 Stücke. Erweiterte Neuausgabe 2015 钢琴独奏 朔特版

Georg Kröll（生于 1934 年）曾师从弗兰克-马丁（Frank Martin）和贝恩德-阿洛伊斯-齐默尔曼（Bernd Alois Zimmermann）学习作曲，师从埃尔塞-施密茨-戈尔（Else Schmitz-Gohr，她本人也是马克斯-雷格（Max Reger）的学生）学习钢琴，还参加过普索、布列兹和马德尔纳的课程和讲座。他的 "Tagebuch "由一系列钢琴小品组成，这些小品的音符是根据勋伯格的《钢琴组曲作品 25》中的十二个音符串联起来的，并通过一系列的排列组合来完成。正如人们只要稍加想象，就能从云层中看到图画，或从风雨侵蚀的岩石中辨认出人或动物的形状一样，任何特定材料中固有的声音都会引发联想。然后，这些联想会结晶成一种灵感、一种结构、一种形式或一个和弦，让人联想到贝多芬、斯特拉文斯基的主题、杜菲的lausula、弗雷斯科巴尔迪的主题--一个想法逐渐成型。大量现存的素材激发了人们的想象力和某种发现的喜悦，而现存素材的外部限制则为内部的创造性探索提供了自由。'（格奥尔格-克罗尔）"

作曲家: Kroell, Georg
乐器: piano
出版社: Schott Music
原文简介:
Georg Kröll (born 1934), studied composition with Frank Martin and Bernd Alois Zimmermann, piano with Else Schmitz-Gohr - herself a student of Max Reger -, he also attended courses and lectures by Pousseur, Boulez and Maderna. His ‘Tagebuch’ consists of a series of short piano pieces, their key notes are based on a twelve-note series from Schönberg’s Suite for Piano Op. 25 and are reached via a series of permutations. ‘Just as one can, with a little imagination, see pictures in cloud formations, or discern human or animal shapes in rocks weathered by the wind and the rain, so the sounds inherent in any given material trigger associations. These then crystallise into an inspiration, a structure, a form, or a chord reminiscent of Beet-hoven, a motif by Stravinsky, a clausula by Dufay, a theme by Frescobaldi - the gradual shaping of an idea. The great store of existing material inspires the imagination and a certain joy of discovery, while the external limitations of pre-existing material provide the freedom for internal creative exploration. This is how parodies, homages, paraphrases and quotes are created, shaped from blocks of sound, fragments and aphorisms.’ (Georg Kröll)