Trumpet Sonata after Richard Strauss 史特劳斯理查德 小号奏鸣曲 小号 1把以上加钢琴 博浩版

如果说现代有哪位作曲家的奏鸣曲或协奏曲是器乐演奏家们梦寐以求的，理查德-施特劳斯一定名列前茅。他的管弦乐和歌剧创作范围广泛，为每种乐器都写下了光彩夺目的惯用曲目，但只有钢琴、小提琴、单簧管（与巴松管合作）、双簧管和圆号能真正称得上是作曲家笔下的定制独奏曲，而它们加在一起也只占作曲家作品的一小部分。这首理查德-施特劳斯的三乐章奏鸣曲并非简单的抄袭，它不仅是作曲家为适应新的音乐风格而重新创作的作品，还填补了小号演奏家在 "严肃 "的后期浪漫主义独奏曲素材方面的空白，既可整体演奏，也可作为 "三部曲"（Drei Konzertstücke）演奏。托马斯-奥勒（Thomas Oehler）和乔纳森-弗里曼-阿特伍德（Jonathan Freeman-Attwood）从施特劳斯的众多作品中汲取灵感，创作了这一新作品，其中包括小提琴奏鸣曲、Von den Hinterweltlern（《查拉图斯特拉如是说》）、管乐小夜曲（《来自废人作坊》）以及泽尔宾内塔的咏叹调（《纳克索斯的阿里阿德涅》）

作曲家: Strauss, Richard
校订者: Attwood, Jonathan / Oehler, Thomas
乐器: trumpet (in Bb or C) and piano
出版社: Boosey & Hawkes
原文简介:
If there was ever a composer in the modern era from whom instrumentalists would hanker for a sonata or concerto, Richard Strauss must be right up there. His wide-ranging orchestral and operatic creations bleed with gloriously idiomatic writing for every instrument, and yet only the piano, violin, clarinet (in tandem with the bassoon), oboe and horn can really claim to have bespoke solo works from the composer’s seamlessly productive pen, and collectively they form only a small proportion of the composer’s output. No mere transcription, this three-movement Sonata after Richard Strauss extends well beyond a redeployment of the composer’s music to fit a new idiom, filling the gaping chasm of ‘serious’ late-Romantic recital material for trumpet players, to be performed in toto or as Drei Konzertstücke. Thomas Oehler and Jonathan Freeman-Attwood have drawn on a wide range of Strauss’s works to create the new offering, including the Violin Sonata, Von den Hinterweltlern (Also sprach Zarathustra), the Serenade for Winds (‘From an invalid’s workshop’) and Zerbinetta’s Aria (Ariadne auf Naxos).The publication includes parts for trumpet in B flat and in C.