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TimeArt Studio 時間藝術工作室
George Holloway Composer Portrait Concert "Ghost in the Machine"
盧長劍作曲家肖像音樂會「機械中的幽靈」
National Recital Hall, Taipei, Taiwan, April 9 2024
2024年4月9日，台灣台北國家演奏廳
(scroll down for English programme note)
曲解：
⟪鑲嵌（五）⟫（Mosaic V）
為長笛（兼短笛）、雙簧管（兼英國管）、降B調單簧管（兼降E調單簧管）、低音管（兼倍低音管）、法國號、小號（兼高音小號）、長號、兩位打擊、豎琴、兩把小提琴、中提琴、大提琴和低音提琴而作
「鑲嵌」這系列作品是盧長劍二十五年的音樂創作以來最有野心，也是編制和規模最大的音樂作品。該系列作品與2016年7月開始創作，而經歷了一系列具有不同長短與編制的版本之後，作曲家最終決定將第五版作為該作品的最終版本。先前的四個版本已被作曲家撤回。完成與2021年的「鑲嵌（五）」在探索一種連續性的發展變形，其中包括極度集中的動機材料，建立在速度轉換的嚴格框架中，決定了作品的整體架構。 兩個不同但具有倒映關係的動機，一個以上行半音級進為主、另一個以下行半音級進為主，共同構成了作品中強迫性的基本格式塔。作品有兩種和聲結構，一種是循環性的，另一種是拱形的。 循環和拱形通常交替出現，創造出相對靜止（循環）和動態（拱形）的對比。
〈循環一〉具有前奏的作用。和聲節奏的加速引進了〈拱形一〉，呈現出該樂曲的主要「主題」。 本段落設定了所有後續拱形的結構範式：加速到緊張的高潮，接著減慢到「放鬆」的解決。〈循環二〉是最短的段落，總共僅包含了兩個和弦。作品中的每一個循環都就越來越長，每次包含的和弦數量漸漸地增加。〈拱形二〉是一種「諧謔曲」。拱形三緊接在循環三之後，被標記為「岩漿狀」和「威脅性」。 該段落將音樂推進到一個狂野的高潮以及作品中第一次全體休止，這標誌著第一個大段落的結束。
在第二大段落的開頭，音樂進入〈循環四〉，是整部作品最長的循環。 充滿活力的〈拱形四〉將音樂推進到樂曲最具爆炸性和和聲張力的高潮。音樂一直維持高度的戲劇張力，並直接進入雄偉的〈拱形五〉（而並沒有介入相對平靜的循環來調換氣氛）。
〈拱形五〉可以說是布拉姆斯式的半（或假！）再現：〈拱形一〉以分解和弦為主的主題在這裡由法國號和長號吹奏再現，但真正織體上的再現僅在下一個爆炸性的高潮之後才出現。
〈拱形五〉的高潮迎來了〈循環五〉，這是一個寧靜而疲憊的尾奏。作品以與開頭相同的三音音級集合（do-fa-sol）結束，表明整個作品本身形成了一個大規模的和聲循環； 然而，額外添加的si讓人對這個循環性的印象產生了懷疑：這首曲子到底是一個循環，還是一個拱形？
「鑲嵌（五）」很完滿地能過總結肖像音樂會的標題，因為它是盧長劍創作過最「抽象」的作品之一，但它又是最能夠帶觀眾踏上由各種心情和情境組成的冒險之作品。
Mosaic (V) explores a developing variation consisting of an extreme concentration of motivic material, arranged in a tight framework of tempo modulations determining the overall architecture of the piece. Two different but inversionally-related motifs, one chromatically descending, the other chromatically ascending, together form the obsessive Grundgestalt of the work.
Mosaic (V) features two sorts of musical structure, one harmonically cyclic, the other arch-like in its harmonic design. The cycles and arcs generally alternate through the piece, creating passages of relative stasis (the cycles) and dynamism (the arcs).
The crystalline and austere first cycle functions as a prelude. An accelerando in harmonic rhythm leads into the first arc (letter D), which presents the serene and mysterious broken-chord figure that serves as the main “theme” of the piece. This arc sets out the structural paradigm which all the other arcs follow: an accelerando to a climax of tension, followed by a ritardando towards a climactic resolution.
Cycle 2 (bar 73) is the shortest of the cycles, featuring just two harmonic steps before returning to its starting-point. The other cycles in the piece represent differently complex harmonic cycles that stray ever further afield, before inevitably returning to the harmony that initiated that cycle.
The second arc (bar 81) is a scherzando. The third arc (letter R), following after cycle 3 (bar 129), is marked “magma-like” and “threatening”. This leads to a wild climax and the first general pause of the piece, which marks the end of the first long paragraph.
At the beginning of the second paragraph (bar 180), the music settles into the repetitive groove of Cycle 4, the longest cycle in the work, marked “rhythmic and precise”. This is characterised by cross-rhythms of 5:4 that create the effect of polytempo. Jabbing triplets periodically add to the edginess of the groove.
The energetic fourth arc drives the music towards the most explosive climax of the piece. At this point (letter BB) the most dissonant structural harmony of the work, where the perfect fifths belonging to the two Grundgestalt motives are at their most dissonant (D-A/Eb-Bb respectively). The music maintains a high level of dramatic tension, and leads directly into the majestic fifth arc (letter EE), this time with no calmer cycle interceding between the two arcs structures.
Arc 5 represents, as it were, a Brahmsian half- (or false!) recapitulation: the broken-chord theme of the first arc is declaimed by horn and trombone in unison, but the true recapitulation (both thematic and textural) comes only after another explosive climax (HH).
The material of arc 1 is repeated with variation, before a final explosion ushers in the fifth cycle (KK), which functions as a serene and exhausted postlude. The work ends on the same three-note pitch set with which it began (C-F-G), suggesting that the whole work itself forms a large-scale harmonic cycle; there is however the extra addition of the note B (bar 321), which casts doubt over this impression of cyclicity: was the piece after all a cycle, or rather an arc?
TimeArt Studio
時間藝術工作室
演奏者：
短笛、長笛、中音長笛、低音長笛：吳正宇
雙簧管、英國管：鍾安琪
降B調單簧管、降E調單簧管、低音單簧管：王冠傑
低音管、倍低音管：歐易欣
法國號：林芳瑜
小號、高音小號：穆恩信
長號：楊錦龍
打擊：翁明榆、黃泱宏
豎琴：曾韋晴
小提琴：張庭碩、蔡承宏
中提琴：廖培雅
大提琴：張智惠
低音提琴：徐子昀
指揮：盧長劍 Conductor: George Holloway