薛衣珊大提琴演奏會與個人創作作品一曲 ─ 巴哈邂逅白鷺鷥 ( 給大提琴與鋼琴 )

Abstract

用音符紀錄生活的點滴，用大提琴和鋼琴的音色敘述這點滴的精采。在此首作品中，器樂所呈現的關係是互動的，是敘事的，沒有主、伴奏之分，更沒有特定的角色扮演，有的是無線想像的空間及併置音樂的多變色彩。運用作者所熟悉的樂器語言，搭配古典巴哈和台灣民謠觸動人心的優美旋律，刻畫出一幕又一幕的生活片段。

巴哈邂逅白鷺鷥 ─ 融合了巴哈大提琴無伴奏第一首組曲中的前奏曲片段，和台灣民謠白鷺鷥的樂曲旋律所架構而成的一首作品。音樂畫面之解構，內容包括「斗笠、簑衣、綿綿雨」、「竹筏、搖槳、水漣漪」、「鳥兒、魚兒、水中戲」、「曖昧、舞蹈、恐安逸」、「狂風、暴雨、毀大地」、「寧靜遲歸，蹤再現」。

To record events happening in my life, I use the cello and piano timbres to depict many splendid mental snapshots from my existence. In this piece, all of the instruments present interactive and narrative relationships, without the differentiation of main voice and accompaniment or any specific character role; they solely represent unbounded space and juxtapose the music segments within a varied and colorful atmosphere. The composer’s familiar instrumental language correlates the Baroque style of J.S. Bach with the melodic beauty of contemporary Taiwanese folk songs to touch the listener’s heart and characterize existential fragments passage by passage.

The composition, When Bach Encounter Egrets, blends both Bach’s Prelude segment from the Suite No. 1 for Solo Cello, and the melody from the Taiwanese folk song, Egret, to construct a new piece. The music can be divided into the following passages: 1)The Leaf Hat,Coir cape,and the Continuous Drizzle; 2)The Bamboo Raft, Oar Rocking, and the Water Rippling; 3)Birds, Fish, and Playing in the Water; 4) The Ambiguous Relation, Dancing, and Fears to Ease; 5) The Strong Wind, Torrential Rain, and the Ruined Land; The Silence Back Home, and the Trail. Reappearance.