王西麟：钢琴协奏曲 作品56号 (2010) WANG XILIN: CONCERTO FOR PIANO AND ORCHESTRA OP.56 (2010) 0:00 第一乐章 威胁的快板 / I. Allegro Minacciso Aspro 10:13 第二乐章 广板——帕萨卡利亚 / II. Lento Adagio Passacagria 29:13 第三乐章 活跃的小快板——托卡塔 / III. Allegretto Belebt Toccata (三个乐章不间断演奏) / (No pause between movements) 全作气势磅礴，具有强烈的生命意识，并充满了强烈的矛盾冲突： 第一乐章 威慑、暴打的短促节奏和悲怆、控诉的长歌，两者激烈地对峙，代表了两种命运的强烈对抗，并由此建立了作品的艺术基调。前者由京剧《野猪林》中林冲在鞭打中出场演化而来，后者则来自于北方戏曲秦腔和蒲剧中苍凉高亢的悲调，两者统一在京剧摇板紧打慢唱的节奏之中。 第二乐章 在漫漫黑夜的铁屋中的沉思和独白。 第三乐章 明朗清澈的生命泉水由涓涓滴滴逐渐汇合成滔滔巨流，冲撞奔腾。全曲高潮之后进入整部作品的尾声，似“风暴过去后的纯静安详、升华飘逸，好像活佛圆寂后结晶的舍利子”(作曲家张朝）。 This composition full with great power and grandeur as well as high intensity of life consciousness, the concerto is full of contradictions and conflicts: 1st movement consisting of strong music rhythms of ruthlessly beatings is a long and sorrowful song that sobs out those prolonged sufferings. The high tension between the rhythms and the song has presented an explosive confrontation of two different fates, which lays an artistic foundation of the work. The former is depurated from the whip-beatings performed in a Beijing Opera named The Rescue in Wild Boar Jungles; the latter, derived from local operas popular in the northern China such as Singings in Qin, Plays in Puzhou and others, all sonorous but full of pathos and desolateness. This sharp contrast is merged into rhythms of fast beats and slow singings, i.e., the Rocking Form used in Beijing Opera. 2nd movement is a meditation and monologue in a sealed house immersed in endless darkness over long, long nights. 3rd movement presents a limpid stream of life, gushing out as springs and then gradually confluencing into a mighty river. The crescendo in the last movement leads up to a grand climax, following by the epilogue of the concerto.