Twelve Preludes op. 85 齐尔品．亚力山大 前奏曲 钢琴独奏

十二首前奏曲》（芝加哥，1952-53 年）生动清晰地展现了作曲家多方面的表现天才。每首前奏曲都是一个音乐实体，都有自己的'存在理由'，都有自己的音乐信息。从整体上看，这十二首前奏曲构成了一部作品，其表现手法包罗万象，涵盖了所有的音乐理念；用阿尔弗雷德-弗兰肯斯坦（Alfred Frankenstein）的话来说，这些理念是辛辣的、抒情的和音乐哲学的。所有的前奏曲都采用了不同的作曲形式；有些采用了 "严格 "的形式，有些则采用了自由、无拘无束或通过作曲的形式。在这十二首乐曲中，我们可以发现许多巧妙地运用了特切列普宁音乐中特有的风格化节奏模式和手法。这些乐曲源于特切列普宁的创作时期，许多人将这一时期称为新浪漫主义时期，其中蕴含着丰富的歌唱性和旋律抒情性；但从本质上讲，这些乐曲在风格和内容上都是新鲜的，完全'当代'的"

作曲家: Tcherepnin, Alexander
乐器: piano
出版社: M.P. Belaieff Musikverlag
原文简介:
The Twelve Preludes (Chicago, 1952-53) show with vivid clarity the many-sided expressive genius of their composer. Each prelude is a musical entity, each has its own 'raison d'être', its own musical message. Taken as a whole, the twelve form a work with an exhaustive range of expression running the complete gamut of musical ideas; ideas which are, in the words of Alfred Frankenstein referring to these pieces, pungent, lyrical and musico-philosophic. All of the preludes are built in various compositional forms; some in 'strict' form, others in a free, unbounded or through composed form. Throughout the twelve pieces are found numerous clever uses of stylistic rhythmic patterns and devices which characterize Tcherepnin's music. The pieces stem from the period of Tcherepnin's composition which is designated by many as his neo-romantic period, and are rich in singing, melodic lyricism; yet they are in essence fresh and completely 'contemporary' in style and content.