這是去年的舊聞了
關於我喜歡的作曲家Francaix的死訊
I was unaware until today that composer Jean Francaix died last
week in Paris at age 85. The news came in the form of a tribute carried on
Los Angeles radio station KUSC. I was both shocked and saddened -- shocked
because it took so long for me to hear the news, and saddened that a
composer who had so enriched my life with his special music and who had been
so productive until the end is now gone.
The tribute included a recording of a live concert performance at
Sarasota, Florida of the composer's "Octet" (clarinet, horn, bassoon, and
strings). That recording had special meaning for me because the
composition is such a favorite of mine that it has become one of my
rituals to play it every summer at chamber-music-workshop free-lance
sessions. This last July was even more special, when I received it as a
performance assignment.
Another noteworthy composition, which I think of as a musical
confections and which I participated in at a recital this year -- a
composition that is even less well known than the "Octet" -- is the Poulenc
piano work arranged brilliantly for ten wind instruments by Francaix,
"Musique pour faire plaisir." Commissioned by Klaus Rainer Scholl of the
Mainz Wind Ensemble, the instrumentation, which employs inspired low-end
scoring, contains flutes doubling on piccolos, oboe, English horn,
Bb soprano clarinet, Bb bass clarinet, two horns, bassoon, and
contrabassoon.
I continue to marvel at hearing the composer's recent output, which
is undiminished in quality in spite of his years. A few years ago, a report
by a list member from Australia (or perhaps New Zealand) about his
performance of the Francaix "Trio" for clarinet, viola, and piano (1990)
was so stimulating that I bought the music (and more recently the CD) and
now hope to add the work to a future recital.
The last of my comments about music by Francaix has to do with a
rather surprising recording that aired a few months ago on the radio. I
was mystified to hear music for several clarinets -- music having the
unmistakable imprint of Francaix. Although it sounded famiiar, I could
not recall previously hearing a Francaix work for clarinet choir. The
mystery was resolved when I learned that the composition was an
arrangement of the composer's saxophone quartet for two soprano clarinets
and two basset horns. The performance was at a virtuoso level -- small
wonder, considering that the ensemble contained Sabine Meyer, Wolfgang
Meyer, and Eddie Daniels. The name of the fourth player -- also
well known -- eludes me.
I regret that I never met the composer and envy people like
Jonathan Cohler, who have. Monsieur Francaix, thanks for everything.
Conrad Josias
La Canada, California
註:作者是美國的豎笛家
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美好的聲音總是令我無法抗拒 :Q
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※ 發信站: 批踢踢實業坊(ptt.m8.ntu.edu.tw)
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