Prismatic Piano Variations: Joanne Hsu Piano Solo
『繽紛變奏』專輯收錄不同時代作曲家之變奏曲，觀察其不同面向，賦予新意。韓德爾的「快樂鐵匠」，以傳統固定和聲方式呈現；梅涅爾【主題與變奏，作品第55號】與布拉姆斯【原創主題變奏曲，作品第21號之1】則屬扎實的莊嚴變奏曲風。這兩者皆具錯綜複雜之對位法與極度豐富之和聲語彙，帶給聆聽者知性與感性之極致挑戰。然而，布拉姆斯唯一原創主題的變奏曲，以古典規範融合浪漫內斂柔情之表達方式，與梅涅爾被隱含於傳統架構之下的現代精神，看似有異曲同工之妙;另外，十九世紀初期，當大眾期待演奏者彈奏高度娛樂性的炫技變奏曲時，許多浮誇膚淺的作品因應而生。但是，蕭邦兩首同期的作品，【降B大調輝煌變奏，作品第12號】、【平穩的行板與輝煌燦爛的大波蘭舞曲，作品第22號】，以宏偉氣派，卓越名家之態，擺脫這樣的浮誇炫技。他巧妙地運用旋律性花奏(fioriture)，猶如鋼琴的阿拉貝斯克 (arabesque)，穿梭在夜曲般的行板和英雄式的波蘭舞曲中。最後不能錯過的是拉赫曼尼諾夫的【柯瑞里主題與變奏，作品第42號】，其中運用不同的節奏型態、速度與氛圍，將帶有淡淡憂鬱色彩的主題“La Folia＂發展至截然不同的面向與大膽的性格變奏。『繽紛變奏』鋼琴獨奏會於2015年11月16日在台北國家演奏廳舉行，其中曲目全收錄於此專輯中，包括兩首安可曲: 拉赫曼尼諾夫的【G大調前奏曲，作品第32號之5】，以及蕭邦【降D大調馬厝卡舞曲，作品第30號之3】。

Prismatic Piano Variations
The prismatic piano variations album observes this old musical genre from prismatic angles, seeking new meanings from respective generations. Departing from Handel’s so-called “Harmonious blacksmith,” an Air with its doubles, founded on traditional constant-harmony variations, is furbished in the English division style. The assured works by Medtner and Brahms are Variations Serieuses that make imposing intellectual demands on the listener. In Medtner’s works, the modernism is almost always hidden under traditional manifestation. In the same way, the only original theme by Brahms, he expresses introverted romanticism under the disguise of this traditional variation form. This is made apparently already by the mere fact that they are both variations with intricate contrapuntal texture and harmonies. When the public expects a high degree of entertainment from variation works and, above all, virtuoso execution from the performing artist, this could result in a particular superficiality in the composition, as in countless variations brillantes of the nineteenth century. Chopin’s Variations Brillantes, Op. 12 and Grande Polonaise Brillante, précédée d’un Andante spianato, Op. 22, however, are works in grand style, par excellence virtuosic, without being superficial. Chopin skillfully varies the melodic lines and places the astonishing fioriture, transforming both works into the exuberant world of pianistic arabesque. Finally, Rachmaninoff’s Variations on a Theme of Corelli, Op. 42, utilizing diverse rhythmic patterns and tempi, develops the melancholy “La Folia” into a set of bold and characteristic variations. Prismatic Piano Variations Recital was presented on November 16, 2015 at Taipei National Recital Hall, in which two encores were also included to complete this album: Rachmaninoff’s prelude in G major, Op. 32, No. 5 & Chopin’s Mazurka in D-flat major, Op. 30, No.3.