| J(?)rg Widmann(1973-)is a world-renowned clarinetist,composer and conductor.He has composed a wide variety of works,including more than 100 works ranging from sols,chamber music,concertos,orchestral to operas.In recent years,Some European and American music scholars and critics have compiled and published several monographs and related literary theories for Widmann and his works,while in China,the study of Widmann’s creation is still basically in a blank stage.In these domestic and foreign related works,there is no in-depth analysis and research on the genre creation of Widman Concerto.This thesis chooses three works as the core and research object,which have both certain representativeness and particularity in the field of Widman concerto genre creation.“Dunkle Saiten for cello,orchestra and 2 women’s voices” is the first concerto in Widman’s creative career and the representative work of his “epic” concerto works.It is also one of his concerto creations that has been performed for the longest time so far.“Elegie for clarinet and orchestra” is Widmann’s first clarinet concerto “tailor-made” for himself as a clarinetist,but it instead shows the characteristics of “anti-concerto” get rid of the expression and demand of the concerto genre for exuberant virtuosity,and explore the nuances of pitch,timbre,sound and texture.“Trumpet Concerto ad absurdum” combines virtuosity and drama,and the composer takes the assertion of“impossible” as the starting point of creation.Throughout the work,the confrontation between the soloist and the orchestra is constantly intensified,and through the special use of the Drehorgel and the “death of the trumpeter”,the dramatic tension of the work is raised to a ridiculous level in a cynical way.In addition,the "particularity" of these three concertos is also reflected in another level,Widmann’s creation often contains some "explicit" references to the works of composers in the past,but the three concertos selected in this thesis show a more vague feature in the reference to the past music materials.It is more inclined to some kind of style quotation of implicit materials such as "breath","emotion","context" and "space".In the first chapter of this thesis,after introducing Widman’s life and general creative characteristics,the creative characteristics of his instrumental solo concertos are summarized and preliminarily classified.From the second chapter to the fourth chapter,through the characteristics of each work and some special musical phenomena in the work as the breakthrough point,this thesis makes a detailed study and illustration from the perspective of pitch organization characteristics,timbre sound characteristics,structural characteristics and other composing technical theories,combined with auditory perception and psychological perception.It traces,integrates and logically imagines some of the important music materials that may be related to music history.The fifth chapter makes a horizontal comparative study and further reflection on the creative characteristics embodied in the three instrumental solos,and puts some of the creative characteristics embodied in them into the whole creation of Widmann and associates them with other works to a certain extent in order to show the unique charm embodied in Widmann’s creation;After that,the aesthetic value of Widmann’s concerto is discussed and summarized,and the last part discusses the study of Widmann’s creative mentality under his dual identity. |
