Berio, Orchestral Transcriptions

　　购于王府井外文书店。 原作分别为:

1. 珀塞尔, 向阿尔弗雷德叔叔致敬
2. 巴赫, 赋格的艺术, 第 14 对位曲
   
3. 博凯里尼, Ritirata notturna di Madrid
4. 莫扎特, Papageno’s Aria “Ein Mädchen oder Weibchen”
5. 舒伯特, Rendering for orchestra
6. 勃拉姆斯, 单簧管奏鸣曲 Op. 120 之 1

　　夏伊指挥米兰威尔第交响乐团。 给小册子划一划重点: (Giordano Montecchi, translated by Karel Clapshaw)

The Hornpipe by Purcell is transcribed for flute, clarinet, percussion, harpsichord, viola and cello. The result is a very agile fluttering of wings, a hybrid baroquishness ...

(Berio’s version) exalts Bach’s score by echoing it in a veritable counterpoint of timbres, an inlay of precisely graded colours that reveal an act of immeasurable devotion, until the crucial point where the counterpoint is interrupted and, in the final bars, Berio reintroduces a piercing sense of failing strength, attenuating the volume until it inexorably fades into a single unmoving cluster on the notes B-A-C-H which slowly dies away.

(关于巴赫 «赋格的艺术» 对位曲编号的问题, 人音/Henle 版乐谱有详尽阐述; 此出版物中将其中未完成的最后一个赋格标称为第 19 对位曲而非第 14 是错误的。)

The idea was to superimpose the four versions of the (Boccherini’s) Ritirata, making only slight alterations and thus obtainning a stratified sound structure which gradually displays all its triumphant, iterative exuberance, drawing near with a powerful crescendo, like a street band, and then slowly vanishing as it appeared (into the darkness of the Madrid night).

(还是这个最好听啊)