活页乐谱 $31.49

原文

Kaija Saariaho. Trois Rivieres. Score. Sheet Music. 4 Percussionists, Electronics. ORCH. PERC. Kaija Saariaho. --.

译文

凯亚Saariaho. 三河城. 得分. 乐谱. 4 Percussionists, Electronics. ORCH. PERC. 凯亚Saariaho. --.

原文

Commissioned by the French Government and Musica Strasbourg. As the title suggests, Trois rivières is divided into three separate sections. The first part introduces all the instrumental colours used in the piece. The rhythmic aspect is here nearly eliminated, giving room for the timbral scales, colours, resonances, attacks and textures to come to the fore. The instruments come from all members of the percussion family, but unpitched instruments are given a primary role. The second part adds a rhythmic aspect to the nuances of colour and texture, as an ostinato is developed in markedly varying directions. The last part is an epilogue, recalling components of the two preceding parts. Here, earlier aspects of the material are reorganised and placed in different relationships to each other. The voices of the percussionists act together as an extension of the instruments, being used to create either rhythmically free textures or strictly notated rhythms. They are treated instrumentally, combining to create rhythms and timbres. The poem 'La nuit de lune sur le fleuve'. Moonlit night on the river. by the Chinese poet Li Po. 701-762. constitutes the material for the voices, which are amplified and further enhanced throughout.

译文

Commissioned by the French Government and Musica Strasbourg. 正如标题所暗示的，三河城分为三个独立的部分. 第一部分介绍了所有的片使用的工具的颜色. 节奏方面是这里几乎消除，使空间的音色尺度，色彩，共振，攻击和纹理脱颖而出. 仪器来自打击乐器家族的所有成员，但unpitched仪器给出一个主要作用. 第二部分增加了一个节奏方面的颜色和纹理的细微差别，作为一个固定音型开发的显着变化的方向. 最后一个部分是结语，回顾前两个部分的组成部分. 这里，较早的材料的方面改组，并放置在不同的关系彼此. 在打击乐的声音一起行动为手段的延伸，被用来创建节奏要么无纹理或严格的节奏记谱. 他们用仪器治疗，结合创建节奏和音色. 诗中“河上的月夜”. 河上的月夜. 由中国诗人黎泊. 701-762. 构成的声音，这被放大，并进一步增强了整个材料.