- 日本語
- ENGLISH
SAKAI, Kenji酒井健治(1977.8.6-)
ETUDES POUR PIANO - deuxième livre(2016)
ピアノのための練習曲集 第2巻
VII. Comme les harmonies du soir,VIII. Toccata,IX. Danse Macabre,X. Crépuscule,XI. Fantaisie douloureuse,XII. À la Mozart
- Instrumentation
- pf
- Duration
- 12’40”
- Category
- Solo
- Premiere
- VII. 30. October 2016,Jofuku Temple (Kanagawa),Kaoru Tashiro (pf) VIII. 12. November 2022,Aoyama Music Memorial Hall (Barocksaal) (Kyoto),Takuya Okura (pf) IX. 12. November 2022,Aoyama Music Memorial Hall (Barocksaal) (Kyoto),Takuya Okura (pf) X. 2. August 2024,Aoyama Music Memorial Hall (Barocksaal) (Kyoto),Takuya Okura (pf) XI. 2. August 2024,Aoyama Music Memorial Hall (Barocksaal) (Kyoto),Takuya Okura (pf) XII. 2. August 2024,Aoyama Music Memorial Hall (Barocksaal) (Kyoto),Takuya Okura (pf)
- Description
-
Piano studies seem now to have become the focal point in my creative output. I have been working on the second volume of studies since 2016 and finally completed the set in summer 2024. Volume 1 was concerned primarily with developing new technical possibilities for the piano. In contrast,Volume 2 is a set of studies intended to develop aspects of masterworks from the past classical repertory.
Comme les harmonies du soir is a reinterpretation of Liszt’s transcendental study Harmonies du soir involving a timbral approach to the left hand part of the piece. In Toccata I have transformed cyclical structures accompanied by technical features in the manner of Ligeti in the form of a keyboard toccata. Danse Macabre,as in the title of Saint-Saëns’s symphonic poem,brings together the Black Death plague that infested medieval Europe with its modern iteration in the form of the Covid pandemic. Crépuscule depicts in a contemporary musical vein the scene conjured up by Debussy’s Brouillards. Liszt described Chopin’s Polonaise-Fantaisie,op.64 as a Fantaisie douloureuse,and the dolorous mood of the original combines in this study with my own compositional style. The final piece in Volume 2 is À la Mozart is an adaptation of Mozart’s Piano Sonata K.576 involving a graft of my own style onto the original piece. The underlying concept of this second volume of studies is thus an estrangement of musical context with recourse to a variety of technical means.