2009 Classical Marimba League Marimba Artist Competition Winners Concert: The Performance of Selected Marimba Solo Works- “Cameleon,” “Variations on Japanese Children’s Song” and “Dr. Gradus ad Parnassum.”

 

論文發表人：陳儀嘉（亞利桑那州立大學音樂系音樂演奏博士班）

 

http://www.classicalmarimba.com/

 

古典木琴聯盟之宗旨為激勵現代作曲家，融合其獨特作曲技巧，並以過去各時期的音樂風格為骨幹，來創作不同編制的木琴曲。古典木琴聯盟亦舉辦年度國際木琴大賽，提供木琴演奏者展露其長的機會。此次演出之樂曲為當代重要木琴獨奏曲「變色龍」，「日本兒歌變奏」，以及改編作品「兒童天地」鋼琴組曲中的「帕納森博士」。「變色龍」為具有法國以及爵士音樂影響的木琴獨奏樂曲。此曲為三段式（ABA）曲式加上尾奏。A段由流暢且多采的樂句所展開並貫串；B段則轉換為較快的速度，樂曲的第二主題在此由強烈節奏性的樂段所帶出，快速的節奏以及重音塑造了此段活躍且有力的特質。B段在尾處以漸弱及漸慢緩和強烈的樂段，並銜接回如歌般的A段，由溫和深遠的尾奏結尾。「日本兒歌變奏」由三個主要段落組成。第一段由不同音量、樂句長度的頑固低音以及主要樂思所展開，第二段則呈現了數段裝飾奏般的樂段。音量的對比、速度的變化、漸快、漸慢以及速度自由的高度使用使演奏者得以較為自由的表現對裝飾奏樂段的獨特詮釋。最後一個段落不但涵蓋快速的音量（dynamic）、音色（timbre）以及音域（register）的轉換，並且運用樂曲的主要樂思以及素材，建立樂曲之高潮以及輝煌有力的結尾。「帕納森博士」為一短小卻深奧豐富的樂曲，演奏者須運用高度的四隻琴槌控制技巧以詮釋此曲。其中快速的十六分音符樂段需要迅速且準確的單手音程變換，以及非常精確平均的雙擊（double stroke）來呈現流暢的樂句。演奏者亦須運用跨越棒法（cross sticking）來呈現十六分音符琶音樂句的重音。而樂曲中氣氛的變換，須要藉由精細敏銳的觸鍵（touching）來呈現多變的音色以及各段落的音樂特質。此次演出的三首樂曲風格相異，但對於演奏者在音樂的處理以及技巧的運用上，皆有著相當程度的挑戰。

 

Classical Marimba League (CML) is an organization to establish a legacy of marimba music that honors the notable styles of the past within the creative expression of emerging composers from all over the world. CML holds annual International Marimba Artist Competition to provide a venue for marimba performers to showcase their talent. The pieces performed in the competition are "Cameleon" and "Variations on Japanese Children's Songs" from standard marimba solo literature and a transcription "Dr. Gradus ad Parnassum" from piano solo suite "Children's Corner." "Cameleon" is a marimba solo piece with French and Jazz influence. This piece is composed in the ABA form with a Coda. The A section starts with lyrical, flowing melody that is smooth yet colorful. The B section begins with faster tempo with accent of rhythmic passages to create an energetic and intense second theme, which provides a great contrast with the A section. After a diminuendo and ritardando, it repeats back to A section, and end up with a Coda. "Variations on Japanese Children's Songs" consists of three main sections. The Ostinato and main idea are introduced in the very beginning, and presented with different phrasing and dynamic. The second section consists of several cadenza-like passages. The dynamic contrast and tempo change, the great use of accelerando, retardando and tempo rubato, allows performer to express the passage more freely and colorful. The last section includes many fast shift of dynamic, timbre and register, which combines previous material, build up the climax and a brilliant ending. "Dr. Gradus ad Parnassum" demands mature four- mallet technique to meet the challenges in this short but profound piece. The fast sixteenth-notes-run requires fast and accurate small interval change of single hand and very even double strokes to achieve the flow of each passage. The sixteenth- notes arpeggio figure with accent demands cross sticking to bring out the accent. The mood change in this piece asks for sensitive touching to reach various timbre and to interpret different character of passages. The style of these three pieces is contrast, but these three pieces are technically challenging and virtuosically impressive flourish.