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【打擊協奏】打擊樂獨奏和管樂重奏協奏曲CONCERTO FOR PERCUSSION SOLO & WIND ENSEMBLE
系列:協奏曲系列
作曲:蓋瑞·澤克
演奏級數:5級
演奏時間:14:20
出版公司:C. Alan Publications
商品編號:05380

NT$6650

商品貨號 5380 商品分類 , , 商品標籤

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樂曲解說
此曲於2001年1月創作,以展示打擊樂手斯科特·赫林的才華。這首協奏曲由三個相互關聯的樂章組成,獨奏者演奏各種樂器,包括馬林巴、顫音琴、鍾琴和小號,還使用了兩個軍鼓、多個筒鼓、剎車鼓和大鼓。第一樂章的進行曲使用了一個準五部分的迴旋曲形式,在以軍鼓結束後,立刻進入第二樂章,並以多組風鈴的空靈聲音開始。隨著樂章的進行,在簡單的合奏伴奏下逐漸建立了一個勝利的時刻。第三樂章的幻想曲變成了充滿活力的氛圍,接續了最後樂章的高潮並結束樂曲。

The Concerto for Percussion Solo and Wind Ensemble was composed in January of 2001 as a showcase for the talents of percussionist Scott Herring. The concerto is in three connected movements and features the soloist on a variety of instruments, including marimba, vibraphone, bells, and crotales. A large percussion battery with two snare drums, multiple toms, brake drums, and bass drum is also used. The first movement, March, utilizes a quasi five-part rondo form. The movement starts with a solo snare drum, with the ensemble providing melodic interjections. The introduction builds to the first solo marimba entrance. A left hand ostinato leads to a melodic figure which alternates between 6/8 and 4/4. A short snare drum solo sets up the middle section, in which the soloist and ensemble trade musical ideas. The multi-meter passage returns, with the soloist embellishing ensemble melodic figures. An abrupt modulation leads to the final section, which echoes the opening ideas of the movement. March ends with the soloist back on the snare drum, as it comes quietly to its conclusion. The concerto immediately segues into the second movement, Meditation, which begins with the ethereal sound of multiple sets of wind chimes. As the movement progresses, the soloist plays long, reflective lines over a simple ensemble accompaniment, on various combinations of keyboard percussion instruments. The movement builds to a moment of triumph, before returning to its initial contemplative state. Fantasia (a free flight of fancy) immediately shatters the previous mood. A loud, cacophonous ensemble accompaniment provides a charged atmosphere for the soloist to utilize the percussion battery. A short melodic section, noble in character, leads to the initial climax of the final movement. The atmosphere abruptly changes again, as the ensemble and soloist embark upon a fast, violent new section. Musical lines are furiously exchanged, leading up to a thunderous percussive display. The mood is suddenly tinged with blues and jazz influences, letting the soloist function in a manner reminiscent of a drum set player. The final section of Fantasia begins with an unaccompanied marimba solo, played at breakneck speed. The ensemble begins to gradually join the soloist, as the movement build to a final, fortissimo climax.