Tapis pour cordes 尹伊桑 弦乐五重奏 柏特-柏克版

题 "Tapis "意为 "地毯"、"织物"，指的是声音表面类似织物的结构，这也印证了恽代英将音符视为 "笔触"、"音串 "的观点。Tapis 既可由独奏乐器演奏，也可由弦乐团演奏，由细小的音间单元编织而成。另一方面，将这些单元编排成链，可在近乎交响乐的稠密空气中形成宽广的旋律发展。这首演奏曲的节奏特点是快-慢-快，几乎是对称的三部曲式。尹恩惠将五部曲分为低音和高音弦乐组，中提琴处于中间位置，并与小提琴或低音提琴结成不断变化的联盟。前九小节的音序以较小的规模预示了整体形式，至少是快速的外围部分：小音程占主导地位；强有力的动机单元通过颤音和滑音扩展为音串，一直上升到第 7 小节，然后突然坠入深渊。旋律的发展由高音弦乐承载，低音弦乐的拨弦冲动为旋律的发展提供了节奏上的支持。在接下来的乐曲中，结构始终由尹恩惠的 "角色转换 "原则决定：在第 9 小节中，低弦乐器承接了小提琴的旋律，并由高音部的短双音动机赋予其节奏形态。在对比鲜明的中段，尹恩惠展现了 "抒情曲 "的吟唱风格。在最后的第三段中，他通过使用大量的声音组合、节奏和手势的混合过程、极强的动态和极高的位置，实现了极致的升级和极致的表达。沃尔特-沃尔夫冈-斯帕勒（1999 年）

作曲家: Yun Isang
乐器: 2 violins, viola, cello and double bass
出版社: Bote & Bock
原文简介:
The title Tapis – meaning carpet, fabric – refers to the fabric-like structure of sound surfaces which confirm Yun's view of the note as a 'brushstroke', as a string of sounds. Tapis, which can be performed by both solo instrument and string orchestra, is woven of small and minuscule intervallic cells. On the other hand, the arrangement of such cells into chains leads to broad melodic developments in an almost symphonically dense air. The virtuoso work shows an almost symmetrical tripartite form with the tempo characteristics fast – slow – fast. Yun divides the five-part setting into the sound groups of the low and high strings, with the viola taking a mediating position and entering into changing alliances with the violins or the basses. The sequence of the first nine bars anticipates the overall form – at least the fast outer sections – on a small scale: Small intervals are dominating; powerfully articulated motivic cells expanded by trills and glissandos into strings of sounds are forced up – heavenward – until bar 7 and then plummet rather abruptly into the depths. The melodic development is carried by the high strings which are rhythmically supported by pizzicato impulses of the low strings. In the following, the structure is determined throughout by Yun's principle of 'change of roles': In bar 9, the low strings take up the melodic air of the violins and are given a rhythmic shape by short two-note motifs of the upper parts. In the contrasting middle section, Yun displays the cantabile style of a dolce setting. In the final third section, he achieves an extreme escalation and extreme expression by using massive conglomerations of sounds, rhythmic and gestural amalgamation processes, extreme dynamics, and extremely high positions. Walter-Wolfgang Sparrer (1999)