《悲情与氛围的三种模式》-为手风琴与电子音乐而作
Three modes of air and lamentations – for accordion and electroacoustic (2005)
作品介绍/Program Notes:
我在2003年为意大利手风琴演奏家克劳德·贾克穆奇的演奏进行了录音。克劳德先生在录音间隙随意演奏的一段简短的探戈音乐，恰好使我产生对这首作品的最初构思：三个乐章中的每一乐章都是通过引用一个手风琴十分流行之国家的一段流行音乐来达到音乐高潮的。第一个国家——法国，我引用的是她的“Craonne”华尔兹，这种音乐是为第一次世界大战的士兵而作的。第二个国家——阿根廷，她的音乐由一段简短的探戈代替。第三个国家——意大利，她的音乐是对蒙特马拉诺作品《塔兰泰拉》的一个电子化的改编。
作品的前两个乐章创作于2004年。当两个“构造”非常不同的声音放置在一起时，一种富有表现力的、痛苦的特性就会自然地体现出来。我后来意识到，这是因为在那段音乐创作的时期，我与很多人都对当时美国入侵伊拉克的战争感到强烈不满——第二乐章，一个具有不规则节拍的循环在一个巨大的赋格中“毫不喘息”地重复着，就是对这一潜在痛苦的一种表达。最后一个乐章是在两年后创作完成的，我把它献给我的妹妹米歇尔。这一乐章结束在比较积极的音上。手风琴与电子音乐部分的对话变得越来越激烈、狂热，直至一种眩晕的状态。
我想向杰拉尔德·贝内特致以深切的感谢，他在苏黎世的计算机音乐与声音科技研究所接待了我。我在那儿度过了两个夏天（2004, 2005）来进行声音的治疗。本作品最后的混音是于2004年的4至5月，和2005年的11月在布尔吉斯国家电子音乐创研中心（IMEB）完成的。该作品由法国国家委约创作。
During the year 2003 I recorded the sound of the instrument of the Italian accordionist Claudio Jacomucci. A brief tango quotation played randomly by Claudio during a break in the recording session became the starting point of the idea upon which the music rests: each of the three movements reaches its climax with a quotation of popular music from a country where accordion is very present. Concerning the first country, France, it is the “Craonne” Waltz, composed for the soldiers of world war one. The second one, Argentina, is represented by a brief tango pattern. For the last one, Italy, it is an electroacoustic adaptation of Montemarano’s Tarentella.
The first two movements were composed in 2004. The expressive and painful nature came naturally when the sounds were put together in two very different constructions. I realised afterwards it was due to the fact that the period I was composing in was also the period when so many people and myself were strongly opposed to the American intervention in Irak. The absence of respiration in the second movement where an offbeat pattern repeats itself, layered in a huge fugue, is an expression of this underlying anguish.
The last movement composed two years later and dedicated to my sister Michelle closes this cycle on a more positive tone. The accordion converses more and more frenetically with the electroacoustic part, up to vertigo.
I would like to thank very deeply Gerald Bennett who received me at the ICST in Zurich where I spent two summer stays (2004 and 2005) achieving sound treatments. The final mixes were achieved at the IMEB in April – May 2004 and then November 2005.
Three modes of air and lamentations was commissioned by the French State.
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