| 词条 | Visions fugitives |
| 释义 |
}} The Visions fugitives, Op. 22, are a series of short piano pieces composed by Russian composer Sergei Prokofiev between 1915 and 1917. They were premiered by Prokofiev on April 15, 1918, in Petrograd, Soviet Union. They were written individually, many for specific friends of Prokofiev's. The pieces contain dissonant harmonies, similar in nature to music composed by Prokofiev's contemporaries Schoenberg and Scriabin, although still retaining highly original concepts in both tonality and rhythm. The pieces are whimsical musical vignettes and, although dissonant, are pleasant, effervescent, and bright, as if Prokofiev wished to show a slower, more joyous side of his imaginative personality. The overall effect is in the impressionist style, not unlike a work of Debussy; in fact, many of the movements are similar in style and sound. Because of the almost-uniformly mellow style of the piece, performers must have much patience and be willing to work on the relatively difficult technique required to capture the essence of this work. Because the movements are quite short individually (lasting around one or two minutes), most performances include a group of movements. A complete performance lasts between eighteen and twenty minutes. HistoryIn August 1917, Prokofiev played them for Russian poet Konstantin Balmont, and others, at the home of a mutual friend. Balmont was inspired to compose a sonnet on the spot, called "a magnificent improvisation" by Prokofiev who named the pieces Mimolyotnosti from these lines in Balmont's poem: "In every fleeting vision I see worlds, Filled with the fickle play of rainbows". A French-speaking friend at the house, Kira Nikolayevna, immediately provided a French translation for the pieces: Visions fugitives. Prokofiev often performed only a couple of them at a time as encores at the end of his performances.[1] MovementsLentamenteThis short movement begins quietly and hesitantly, as if wandering, as the melody does not seem to resolve. The gentle floating chords are like spots of dappled sunshine through a canopy of leaves overhead, ever-changing in the wind; played softly but clearly. However, like the patterns of light, this movement lasts for just a moment. The Lentamente makes certain references to impressionism due to the use of planing. AndanteLike the first movement, this movement is also quiet and hesitant. However, unlike the first, the harmonic and melodic structures of the piece is based on diminished harmony, octatonic scales and dissonant intervals of 7ths, making it rather modern. AllegrettoThis movement is in ternary form, with the middle section being rather more modern than the outer sections. The chords of the right hand in the beginning constitute a fauxbourdon texture, in contrast to the left hand's chromatic passage. The middle section is based on the octatonic scale, with the oscillation of note clusters in the left hand creating a tritone. AnimatoThis movement is noticeably more lively than its predecessors. The piece is played detache or staccato for the chordal passages and leggiero for the scalar passages. After this section, the piece goes to a slower, more mellow bass melody. The thematic material is accompanied in the left hand by an ostinato in minor thirds. Molto giocosoThis short piece is uniformly light and playful (rather scherzo-like), probably because the melody is rather disjunct, creating a humorous effect. This piece is polytonal and often alternates between G and G-flat major/F-sharp major, but eventually ends with a plagal cadence in G major. Con eleganzaThis movement is dance-like, with a gently rising melody which quickly blooms and fades away. This piece seems to imply A minor, though this has been undermined in the middle section with the appearance of E-flat and A-flat in the accompaniment. It ends with a perfect cadence in A minor. Pittoresco (Arpa)This movement begins with a narrante bass accompaniment somewhat reminiscent of the famous opening of Prokofiev's notorious Piano Concerto No. 2. The right hand enters with a fleeting, fairy-like, sparkling melody which seems to develop aimlessly. Close to the end of the movement there is a sudden, dark bass chord, and the movement quickly dies after that. This movement has a performance time of around two minutes. ComodoThis movement has one of the more traditional (non-dissonant) melodies of the work, though infused with certain modern elements. The harmonic and formal structures in this piece are based on 3rd relationships. The left hand provides a nocturne-style accompaniment for the piece. The piece suggests cloud spotting on a warm spring day or some other happy scene from childhood. Allegro tranquilloA rising right hand melody breaks into a left hand run that becomes the new melody, which switches back to a bright right hand melody. The bass accompaniment is, in this case, to be played more prominently than usual because it complements the right hand melody, which is higher up on the keyboard and thus needs support if emphasis is desired. There are some bell-like tones right before the piece ends, which is usually within two minutes. RidicolosamenteThe left hand plays a simple "up-down" motif repeatedly while the right hand begins a dissonant grace-note based melody. The movement, as its title suggests, is very jumpy and comical, and usually lasts around a minute and fifteen seconds. Con vivacitàThis movement's melody is almost-exclusively in upwards or downwards appoggiatura-like scale fragments interspersed with punctuated, accented dissonances. However, the piece has a short, legato middle section in B-flat minor. A performance lasts about a minute. Assai moderatoThis movement is noticeably heavier and more depressed than its predecessors. The entire temperament of the piece suggests something is wrong, but in a way which is slightly cautious (as opposed to outright scared), since it is played mostly solidly. The movement lasts almost about a minute and twenty seconds. AllegrettoAt first listen, this movement appears to return to the wandering style introduced to the audience at the beginning of the work. It quickly develops however; but this expansion is limited and just as quickly returns to the beginning melody, in ternary form. This movement is around forty-five seconds in length. FeroceThis movement is completely distinct to all the other movements in the work. The piece is dissonant, commanding, and march-like, due to its driving, motoristic rhythm quite characteristic of a toccata. The repeating syncopated bass notes are a characteristic of this movement. InquietoThis movement's repeating bass immediately creates a sense of urgency until it opens up to a staccatoed and heavily-chordal melody that gradually grows in magnitude until one great final shove, after which the piece ends. A performance lasts just under a minute. DolenteThis movement is distinctly polyphonic, and is scalar. In contrast to the previous, the thematic material begins with a long descending chromatic line, making the piece rather mournful. This material repeats five times before the end. However, the middle section, is rather reminiscent of no. 8 with its lyrical accompaniment, with a lighthearted two-note slurred motive reminiscent of no. 10, 11 or 12. The piece ends with a sustained E. PoeticoThe left hand melody proceeds unbothered by the ligher right hand accompaniment (which is, of course, flipped of the normal). The piece grows to the top of the keyboard, where both hands participate in a sparkling, nearly-trill like shifting of chords. This movement lasts around fifty seconds. Con una dolce lentezzaAgain, this movement returns to the wandering style of before, though somewhat more solid than its predecessors. Performances last about forty seconds. Presto agitatissimo e molto accentuatoAs its title suggest, this movement is more active and forceful, with a third-based development. The movement abruptly ends with a pounding bass exchange that both hands share. The piece lasts about forty-five seconds. Lento irrealmenteThis movement appears to be searching for something, and has a slightly exotic melody which includes some partial scalar passage which, like the rest of these movements, tends to develop towards the top of the keyboard before coming down to some more bass development. Performances last about two minutes. References1. ^Behind The Mask, Sergey Prokofiev, Diaries 1915–1923, translated from the Russian and annotated by Anthony Phillips, Cornell University Press, 2008 External links
4 : Compositions by Sergei Prokofiev|20th-century classical music|Compositions for solo piano|1917 compositions |
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