迷宮迷宮 逍遙遊逍遙遊 XII為一位鋼琴家的獨奏曲為一位鋼琴家的獨奏曲/為數位鋼琴家的重奏曲為數位鋼琴家的重奏曲潘皇龍Labyrinth . Promenade XII for one Pianist/ for any Number of Pianists ( 1999/2000 )PAN HWANG-LONG Professor Taipei National University of the Arts迷宮逍遙遊本曲採開放形式（可變形式）記譜，所以它的形式與演出長度是不固 定的。它的素材共為二十六個片段，並各以英字母編列之。演奏者得透過 如下方式之一，加以排列組合成一首曲子而逐次演奏之： 1. 演出前按自己意願編列順序，並逐次演奏之。 2. 選擇一首短詩或報導，按其字母順序演奏之。 3. 演出時，即興排列逐次演奏之。 二十六個片段中的任何一個片段，均允許重覆使用或省略；然而，同 一次的演出，重覆使用某一片段以不超過三 ( 或二 ) 次為原則。如演奏家選 擇如上第二類方式演出，則同一字母重覆使用超過三 ( 或二 ) 次時，請酌情 省略之；而演奏家選擇如上第一類或第三類時，視情形得省略二十六個片斷之 若干片段，但以不超過五分之一（五個片段）為原則。本作品原本是各自獨立的獨奏曲。由於共通的創作理念，相同的和聲體系， 以及獨特的曲體設計，使得它也可以用如下三種方式，轉化成室內樂曲。 1. 相同樂器的各個片段交相對位。如長笛二重奏。 2. 不同樂器相同（相異）片段，相互重疊（對位），如小提琴、單簧管與豎 琴的三重奏或長笛、單簧管、鋼琴、小提琴與大提琴的五重奏。當然各樂 器的各片段之全部或局部之省略，更能構築其密度或織度的變化。3. 以上兩種方式的再組合，如雙長笛、三支大提琴與豎琴的六重奏，或雙長 笛、單簧管、一部豎琴、二部鋼琴、小提琴與雙大提琴的九重奏。不管獨奏或是重奏的演奏，作曲家建議演奏家，如有豎琴參與，應優先注 意豎琴的踏瓣更換問題；再者，倘若各片段有重覆時，應酌情省略某些樂器或 某個樂器的若干動機或小節，使得相同的片段的再現，各有其差異性或新鮮感； 而且，如能每次用不同的排列方式，將更符合開放形式的意義。特別是以室內 樂方式呈現時，各個演奏家不妨各自排列順序，多方嘗試、討論後再定案，而 使得每一次的演出，都能夠有些新的期待與機緣，彷彿置身於迷宮中，卻 能逍遙遊。 截至目前為止，迷宮逍遙遊系列作品可以區分成如下三組： A： I.豎琴(1988),VIII.長笛(1998),IX.單簧管(1998),X.小提琴(1998),XI.大提琴(1998), XII.鋼琴(1999/2000),XIII.擊樂(2000) B： II.長號(1989) C： III.古箏(1992),IV.琵琶(1994),V.笛簫(1997),VI.胡琴(1997),VII.揚琴(1997) 迷宮逍遙遊 II.VIII.IX.的演出，需要一部平台式鋼琴在舞台上，而且 鋼琴的制音踏瓣必須以木栓或其他物件加以固定，以使獨奏樂器的音量，直接 對準琴弦時，能夠振動琴弦，引起共鳴。作曲家建議，本曲的演出，最少有五 分之一長度，最多有三分之一長度，必須是獨奏樂器對準鋼琴琴弦，而非面向 觀眾的，至於何時需要對準鋼琴琴弦，可由演奏家自行選擇。LabyrinthPromenadeThis work consists of twenty-six segments set in alphabetical order. However, “Mobile Form” notation has been adopted, with the result that its form and playing length are not fixed. The performer is free to choose one of the following methods of organization: arrangement of the order prior to the performance based on personal choice Arrangement following the order of letters in the words of a short poem or an article from a newspaper or a magazine Improvisation during the performance Any one of the twenty-six segments may be repeated up to three ( or two ) times or omitted altogether. If the second method is chosen, segments corresponding to letters in the poem or article that have already been used three (or two) times will be thereafter considered for omission. If the performer selects the first or the third method, not more than five of the segments can be omitted. Originally, the segments were written for solo performance, but the creative conception, harmonic structure, and unique musical form that they share in common also allow them to be transformed into chamber music through one of three methods: a counterpoint duet of the same instruments in one segment, such as a duet of two flute.A counterpoint consisting of the same or different segments played by different instruments, such as a trio of violin, clarinet and harp, or a quintet of flute, clarinet, piano, violin, and violoncello (though the omission of some or all segments by each performer will result in variations of complexity and interlocked ness) A combination of the above, such as a sextet of two flute, three violoncello and harp, or a nonet of two flute, clarinet, harp, two piano, violin, and two violoncello. Whether in solo or chamber music form, the first priority have to notice harps player switch pedal if instruments include harp, moreover, it would omit the motive or segments of some or particular instruments if each segment have repeated. It will make the representation of same segment be different and fresh. The work should be approached anew with each performance in keeping with the composers “Mobile Form” style. Performers in chamber groups, in particular, are intended to work through the ordering method individually and then discuss these together before a final decision is made. The feeling will be as if finding ones way out of a labyrinth and enjoying the discoveries along the way. The three category of “Labyrinth-Promenade” is as following: A: I. Harp (1988), VIII. Flute (1998), IX. Clarinet (1998), X. Violin (1998), XI. Violoncello (1998), XII. Piano (1999/2000), XIII. Percussion (2000) B: II.Trombone (1989) C: III.Guzheng (1992), IV.Pipa (1994), V.Huchin (1997), VI.Bamboo Flute (1997), VII.Yangchin (1997), The performance of “Labyrinth Promenade II.VIII.XI.” needs at least one grand piano on stage, with wood bolt or other objects fixed and damper pedal, let the volume vibrate piano strings to cause the resonance while soloist plays and aims directly at the piano strings. As the composers suggestion, at least one-fifths to one- thirds at most during the performance that the soloist must aim at piano string instead of facing the audience. As to the timing whenever the player needs to aiming at the strings is up to his/her own choice.