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Hilary Hahn -《27首小提琴安可小品辑》(In 27 Pieces: the Hilary Hahn Encores Project)[2 CD][FLAC]

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    古典类型全集作品
    发行时间2013年11月11日
  • 时间: 2014/03/30 14:42:20 发布 | 2014/03/31 17:01:53 更新
  • 分类: 音乐  古典音乐 

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专辑英文名In 27 Pieces: the Hilary Hahn Encores Project
专辑中文名27首小提琴安可小品辑
艺术家Hilary Hahn
古典类型全集作品
资源格式FLAC
版本[2 CD]
发行时间2013年11月11日
地区美国
语言英语
简介

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专辑简介:

⊙希拉蕊‧韩,小提琴/柯瑞.史麦斯,钢琴
☆当代小品创作邀约,细密詮释不同和声创意与音乐语言

除了经典曲目,小提琴家希拉蕊‧韩对於当代作品的兴趣也非常浓厚。「我听很多当代的严肃音乐,我喜欢听闻所未闻的音乐,」希拉蕊‧韩说。除了欣赏,她更积极委託作曲家为自己量身创作,就像是2008年问世的珍妮佛‧希格东小提琴协奏曲。

2011年年底,希拉蕊‧韩在个人网站公开徵件,广召全球有兴趣的作曲家为小提琴与钢琴创作长度从一分半到五分鐘的新作,而希拉蕊‧韩是这一场创作竞赛的唯一评审。「我最初的目的是为小提琴增加不同风格的安可曲,」希拉蕊‧韩说:「因为我打算自己演奏这些作品,所以乐曲必需和我有所共鸣。」希拉蕊‧韩一共收到409首作品,她选出当中的27首。希拉蕊‧韩不但在新乐季的音乐会上开始演奏这些作品,也录下这些乐曲。

夏威夷的杰夫‧麦尔斯《考艾岛的愤怒鸟》是这一次徵件首奖,其他二十六名作曲家不乏已经在作曲界有一定知名度的大师,包括乌克兰的西尔韦斯特罗夫、英国图纳吉与德国斯‧李希特、纽西兰吉莉安‧怀特海、芬兰劳塔瓦拉、西班牙加西亚─阿布里尔、亚塞拜然阿丽查杰、澳门林品晶、华裔作曲家杜韵、美国知名电影配乐作曲家詹姆斯‧纽顿‧霍华德,以及日本著名电影、电视与动画作曲家大岛满等人。


27首小提琴安可小品辑 2CD
In 27 Pieces / Hilary Hahn Encores

★当代小品创作邀约,细密詮释不同和声创意与音乐语言
★2013年11月15日(五) 希拉蕊‧韩与英国伯明罕交响乐团/台北国家音乐厅联演
☉希拉蕊‧韩,小提琴/柯瑞.史麦斯,钢琴

编号:4791725
条码:028947917250


【专辑曲目】
【CD 1】
[1] 阿丽查杰:衝动
[2] 佐藤聪明:微风
[3] 杜韵:当老虎遇到玫瑰
[4] 大卫‧朗:灯火移动
[5] 林品晶:孤独的秋季
[6] 莫拉维克:忧鬱的小提琴
[7] 加西亚─阿布里尔:三嘆
[8] 多曼:记忆游戏
[9] 特列迪奇:再会
[10] 梅森‧贝兹:福特的农场
[11] 劳塔瓦拉:低语
[12] 吉莉安‧怀特海:托鲁阿
[13] 理查‧巴瑞特:荫
[14] 珍妮佛‧希格东:回声衝击

【CD 2】
[1] 哈齐斯:来
[2] 杰夫‧麦尔斯:考艾岛的愤怒鸟
[3] 图纳吉:希拉蕊的土风舞
[4] 西尔韦斯特罗夫:两首小品
[5] 拉姆纳特:阿拉普与塔拉纳
[6] 阿韦尔巴赫:说,回忆
[7] 蒂娜‧戴维森:地球的蓝色曲线
[8] 艾略特‧夏普:眼睛风暴
[9] 大岛满:回忆
[10] 詹姆斯‧纽顿‧霍华德:133……至少
[11] 穆利:两种声音
[12] 艾赫贝尔格:飘浮
[13] 马克斯‧李希特:慈悲

Composer: Multiple, Jennifer Higdon
Audio CD (November 11, 2013)
Number of Discs: 2
Label: Deutsche Grammophon
ASIN: B00EPD3B2W

Hilary Announces “In 27 Pieces: The Hilary Hahn Encores”

Hilary will commission over two dozen composers to write short-form pieces for acoustic violin and piano. She will tour these new works over the 2011-12 and 2012-13 seasons and then record them. Of the project—called ”In 27 Pieces: The Hilary Hahn Encores”–she writes, “My initial goal was to expand the encore genre to embrace works of different styles. Because I was planning to play the commissioned pieces myself, it was important that the composers’ writing spoke to me in some way. I listened to a lot of contemporary classical music, for hours on end, often late into the night. I loved hearing things I had never heard before. I made nerve-wracking ‘cold calls’ to composers to ask them to participate in my project. I wasn’t sure what the reactions would be, but to my surprise, so many people were receptive that the project gained exhilarating momentum.” The 26 commissioned composers are: Franghiz Ali-Zadeh, Lera Auerbach, Richard Barrett, Mason Bates, Tina Davidson, David Del Tredici, Avner Dorman, Søren Nils Eichberg, Christos Hatzis, Jennifer Higdon, James Newton Howard, Bun-Ching Lam, David Lang, Edgar Meyer, Paul Moravec, Nico Muhly, Michiru Oshima, Kryzsztof Penderecki, Einojuhani Rautavaara, Max Richter, Somei Satoh, Elliott Sharp, Valentin Silvestrov, Mark, Anthony Turnage, Gillian Whitehead, and Du Yun. A final, 27th composer will be decided in a non-traditional fashion later this year.

引用
演出者:Hilary Hahn、Cory Smythe
制作人:Hilary Hahn、Andreas K. Meyer
录音师:Julian Schwenker、Andreas K. Meyer
录音时间:2012年5月、2013年2月
后制处理:Meyer Media Mastering LLC, New York
唱片编号:DG 479 1725
代理商:环球唱片

望著唱片封面,发现原文标题颇值得玩味:左方是希拉蕊˙韩,右方是专辑标题「In 27 Pieces」然后下方写著「The Hilary Hahn Encores」。稍通英文文法的朋友应也发现这封面设计的詮释空间了,标题指的当然不是这位小提琴家的保留曲目数量;「In」是个介係词,那么是暗指「Hilary Hahn in 27 pieces」吗?

音乐糕点舖
先回答上面的问题吧!也许韩的用意不只如此,听完这套双CD,我想她的专辑概念要再略广些,不仅要在这些曲子里展现自我,更想藉由这些演奏构筑一小座「安可曲目库」。怎么说?试想,您会在一首安可曲里期待什么?通常小提琴安可曲是在以小提琴独奏领衔演出(如协奏曲)后端给观眾的精致点心。一位大厨煞费苦心端出主菜之后,还要準备点心,无非是要画龙点睛作收尾,不能砸了自己招牌;安可曲就是这样独特的存在。碰上乐思激昂的二重奏,可以用温柔的小品抚慰观眾心绪;也可在大部头协奏曲之后,附上比主菜更加超技炫目的安可,把现场气氛再升温。

这张专辑就是如此一份「餐后点心选单」,而且还是双CD,可以看见韩试图把这些安可曲编纂成册的意图;要将各种适合小提琴返场的表现手法安排进来,以满足听者的胃口,高低把位转换、泛音、双音奏法等等,都是有一定难度的表现型技巧,同时还需兼顾旋律表达是否流畅。特别的是,专辑内口味虽不重,却也不太清淡,因为所收录曲目皆是当代作曲家所创作。相信不少读者朋友对「现代风格」作品稍有顾虑,因为旋律走向也许不是那么讨喜,那么,请让我在此用三种讲法说服您:一、安可曲是供独奏家返场回馈听眾的,不会也不需要刻意搬弄过於抽象的作曲手法;二、本辑安可曲绝大多数不到五分鐘,听久了也许会有心得,至少从五分鐘来看一位独奏家的表现能力也不失为聆赏乐趣,不妨试著听听看这里有多少弦乐表情;三、假设,真的听得不顺耳,这儿有27首任您选,如果嫌马卡龙太腻、又排斥肉桂苹果薄饼的口感,就换下一道焦糖烤布蕾吧!

冷静自持实难得
碍於篇幅无法细说各曲,仅从大方向著墨,但本刊读者多为爱乐朋友,想来对韩应不致陌生,其实力也早有定评。特别提醒您,近年来她不断拓展疆界,标準曲目外,已从巴哈、莫札特延伸到艾伍士的室内作品了。本辑最精彩是听她那冷静自持的琴音,不渲染滥情,清爽之餘亦能逐一表现短曲的小宇宙,刁钻的句子是有的,但若听到乾涩聒耳肯定不对。韩历经多种乐风洗练出自己的成熟风范,修为有成而稳健内敛,此辑正可为证。


引用
瓦哈拉的涂鸦簿 Hilary Hahn / Cory Smythe, 2/16/2013 (Feb 18, 13)
Hilary Hahn, Violin
Cory Smythe, Piano

Selected Short Pieces from In 27 Pieces: the Hilary Hahn Encores Project:

Elliott Sharp: Storm of the Eye
Franghiz Ali-Zadeh: Impulse

Corelli: Sonata No 4 in F major, Op 5

In 27 Pieces: the Hilary Hahn Encores Project:
David Lang: Light Moving
James Newton Howard: 133...At Least

J. S. Bach: Chaconne from Partita No 2 in D minor, BWV 1004

- Intermission -

In 27 Pieces: the Hilary Hahn Encores Project:
Mason Bates: Ford's Farm
Valentin Silvestrov: Two Pieces for Violin and Piano / Waltz, Christmas Serenade

Faure: Sonata No 1 in A major, Op 13

In 27 Pieces: the Hilary Hahn Encores Project:
Davis Deltredici: Memories
Mark Anthony Turnage: Hilary's Hoedown

Kennedy Center
2/16/2013, 8:00PM


音乐会之中有几乎三分之一到一半的曲目是出自 Hilary Hahn 的安可曲计画,她邀请作曲家创作短曲。名目虽然是安可曲,其实这些曲子变化相当大,有的慢速抒情,有的纯粹是无机质现代音乐,不但听起来就是技巧困难,更有趣的是音色变化也非常大,简直是在实验小提琴能发出的不同声音,有时像是装了弱音器在纱帐中演奏,有时又像是鬼哭般尖锐。

Hahn 在演奏不同时期不同风格的音乐时音色变化也非常大,我以前听其他的小提琴音乐会时没有特别注意到这样的变化。去听这场音乐会主要是为了巴哈,本来以为是 BWV 1004 全曲,开始演奏才知道原来只有夏康。当我非常喜欢一个事物时我往往词穷而找不到适当的话语来形容感动,所以除了「几近完美」之外,我想不出其他的词。大部分夏康的演奏录音都存在一些很细微的瑕疵,比如一些小的杂音,或是不同声部的同步性与时间先后长短的一致性,或是弓在快速变换角度擦过不同琴弦时施力的均衡性。有很多激情感性的演奏,其实说不出口的原因之一可能是要用来掩饰这些声音上的瑕疵。当演奏者拉得声泪俱下,听者很自然会接受这些瑕疵并且认为那是真情流露下必然的结果。我的座位离舞台很近,应该能听到所有的声音,Hahn 的演奏我没听到任何这类的杂音,从头到尾保持一致与平衡,不管是速度或是声部。她的巴哈完全是纯粹的声音,不含任何杂质。

对小提琴的声音很多人喜欢用「松香味」来形容,不知是因为我听力不好还是想像力不足,我从来都不知道松香何指。我大概是绝不会用醇厚甜美之类的形容词来说小提琴的音色,因为只有在特定的音域与比较舒缓的运弓时才会有这样的声音,而大部分比较严肃的曲子不会让声音只限制在这种地方来让人觉得好听。

Corelli 和 Faure 也都很好听,尤其是 Faure 。钢琴伴奏和 Hahn 的合作非常好,不会过也不会不及,Faure 的演奏火花四射却从不会兴奋过头破坏了声音平衡。这是第二次听 Hilary Hahn 的音乐会,她这回又换了钢琴伴奏,似乎她的伴奏折损率很高,其实我希望下次不要又换新人。


引用
The violinist Hilary Hahn noticed a lack of exciting works by contemporary composers to dazzle audiences at the end of concerts – and set out to do something about it. As her project comes to its own glittering finale, she talks to Clemency Burton-Hill.
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“Exhilarating and admittedly a little nuts” is how 33-year-old American violinist Hilary Hahn describes her project In 27 Pieces, an ambitious series of encores she conceived over a decade ago, which this week comes to its own grand finale. A glittering miscellany of short works for violin and piano – the sort of the witty, often dazzling pieces a virtuoso violinist might play at the end of a concert if an enthusiastic audience calls for it – the pieces were commissioned and curated by Hahn in what she calls a “very personal undertaking”. All 27 encores are under five minutes long and have been premiered in concert halls around the world over the past two years. This week they will be released on a recording by Deutsche Grammophon, alongside physical and digital editions of the sheet music from Boosey & Hawkes and MusicNotes.com.

“Here’s what I envisaged when I began,” Hahn tells me from France in the midst of a busy concert tour. “I thought: ‘I’ll commission some composers, perform the pieces, record them, and put out a record.’ That version of this project, however, is like saying: ‘I’m going to throw a big party. I’ll have a caterer, a band, and invite everyone I know.’ Well, yes, but then you start planning it and get to questions like, can the venue handle the band’s tech needs, what is the menu going to be, which drinks do you want to serve, where can people park?… and it goes on and on.”

Despite her jam-packed international touring and recording schedule – the more intriguing aspects of which are recorded on her personal blog and by her Twitter-happy violin case @HilaryHahnViolinCase – she was resolute. “When an idea pops into my head and takes up residence, it doesn’t leave me be until I have accomplished it,” she admits. And accomplish it she has: the project has been an unprecedented triumph, gathering such luminaries from contemporary music as David Lang, Mark-Anthony Turnage and Nico Muhly to create a new body of work that Hahn sees as a “narrative about the composers, about ideas, and about our times.”

Hahn’s original idea arose from what she perceived as a gap in the violin repertoire, in which modern encores are in scant supply. “There was a lack of focus in renewing the encore genre for violin repertoire,” she explains. “Encores are addictive, but the majority of the encores that we learn today were shaped by the performers who preceded us. Their pieces are our classics. And those marvellous old chestnuts are beloved for a reason, but I wanted to make sure that there was continuity in the timeline,” she says. “I was also curious for myself what composers would do with the miniature in our day and age, with so many influences and fresh ideas floating around in the ether. The encore is like the short story. It is a genre unto itself.”

From the top

Hahn confesses she had little idea where to start, but gamely adopted John Cage’s famous maxim: ‘begin anywhere.’ “My square one was to listen to as much new music as I could possibly find,” she reveals. “I spent months in front of my computer, drinking tea and eating chocolate and listening to new music for hours every evening. I had to learn as much as possible about the material that was already out in the world, and to find who I felt would be a good match for this concept.” When a piece “grabbed” her, she says, “my breath would catch, and the urge to collaborate with that composer was visceral.”

Hahn, who has been acclaimed as one of the most outstanding violinists of her generation ever since her first record appeared when she was just 15, says the prospect of then “cold-calling” over two-dozen leading contemporary composers was “nerve-wracking”. She needn’t have worried: the response was overwhelmingly positive.

“When Hilary asked me to write for her I got very happy,” David Lang tells me from his home in New York. “Like many other music lovers around the globe, I had bought her debut Bach recording when she was very young, so I was excited at the chance to meet her and to work with her.” As well as “really enjoying” collaborating with the spirited and gutsy fiddler, Lang says he relished the unique opportunity to tackle a short-form work. “An encore is traditionally a short piece that shows off some aspect of a player's musical abilities. But which aspect? You can show off their speed, articulation, dramatic sense, how melodically they can play, how rhythmic, how high, how soft. I decided to make this encore by focusing on how technically proficient Hilary is, and by filtering out everything that might get in the way of us seeing it. I made a very hard little piece – Light Moving – that concentrates almost exclusively on how perpetual its motion is.”

“I jumped at the chance to be involved,” agrees Nico Muhly, 32. “Short work is actually, I think, as hard to write as longer pieces because you have to have a really concentrated and focused idea. And I live for Hilary Hahn!” He too embraced Hahn’s exceptional technical virtuosity in his piece Two Voices. “I wanted to give her something weirdly slow, drone-based, and technically challenging. She has to figure out a really complicated series of leaps from the lowest register of the instrument to the very highest,” he says. “I hope she plays it a lot and I hope younger violinists play it when she’s sick of it!”

Short but sweet

At a time when nervous classical promoters are ever more wary of including unfamiliar contemporary music on concert programmes, the new encores offer an ingenious solution for an emerging generation of artists and audiences hungry to incorporate new work into their musical diet.

“One of the best things about these short pieces is that they allow Hilary and other violinists to put more new music on more of their concerts,” Lang points out. “After a Mozart concerto or the Tchaikovsky, there is always room for a flashy three-minute little burst of contemporary music,” Muhly concurs. “I think short pieces can be a great way of showcasing both a performer and a composer together, rather like an appetizer.”

To Hahn, a fierce commitment to the music of our time is vital. “To me, the question of classical music engaging with living composers answers itself,” she insists. “We need music to describe every era and a multitude of ever-evolving ideas. Music can only be written by living composers – anything can be played any time, but pieces are written by individuals, while they are alive. So living composers are essential.”

Hahn’s encores project may be coming to a close, then, but the experience seems only to have furnished the violinist’s determination to keep pushing contemporary classical music’s boundaries. “This has been non-stop amazing, in mostly interesting but sometimes overwhelming ways,” she admits. “Wherever my music might lead me, my eyes are open to the possibilities. If I get another crazy idea that inspires me, I’ll follow it.”


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专辑曲目

CD1

01. Impulse (6:01)
02. Bifu (4:58)
03. When a Tiger Meets a Rosa Rugosa (5:30)
04. light moving (2:55)
05. Solitude d'automne (4:12)
06. Blue Fiddle (4:52)
07. Third Sigh (3:22)
08. Memory Games (5:00)
09. Farewell (5:01)
10. Ford's Farm (3:19)
11. Whispering (2:48)
12. Torua (4:12)
13. shade (4:20)
14. Echo Dash (2:16)

CD2

01. Coming To (3:15)
02. The Angry Birds of Kauai (4:00)
03. Hilary's Hoedown (2:01)
04. Two Pieces (4:58)
05. Aalap and Tarana (3:16)
06. Speak, Memory (3:16)
07. Blue Curve of the Earth (4:53)
08. Storm of the Eye (4:54)
09. Memories (3:55)
10. 133… At Least (2:09)
11. Two Voices (4:57)
12. Levitation (4:13)
13. Mercy (5:31)

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