商品条码 : 0028948119707
商品编号 : 4811970
演奏者 : 艾奥迪 Ludovico Einaudi - 查看所有专辑
专辑名称 : 音乐元素
音乐类型 : 古典音乐 [CD 钢琴(家)]
发行公司/日期 : 环球 2015/10/30
内含片数 : 1
随着专辑《时光定格》（In a Time Lapse）在世界范围内取得的极大成功，时隔两年半，意大利著名钢琴家、作曲家鲁多维科·艾奥迪（Ludovico Einaudi）再次推出他的最新作品——《自然元素》（Element），专辑将以其更为引人入胜和独特的音乐风格，由全球最大的唱片公司、环球唱片旗下的DECCA发行。
01. Petricor 雨后芬芳 作曲：Ludovico Einaudi
02. Night 夜晚 作曲：Ludovico Einaudi
03. Drop 水滴 作曲：Ludovico Einaudi
04. Four Dimensions 四度空间 作曲：Ludovico Einaudi
05. Elements 自然元素 作曲：Ludovico Einaudi
06. Whirling Winds 旋风 作曲：Ludovico Einaudi
07. Twice 两次 作曲：Ludovico Einaudi
08. ABC ABC 作曲：Ludovico Einaudi
09. Numbers 数字 作曲：Ludovico Einaudi
10. Mountain 山 作曲：Ludovico Einaudi
11. Logos 理性 作曲：Ludovico Einaudi
12. Song For Gavin 加文之歌 作曲：Ludovico Einaudi
简介 · · · · · ·
意大利钢琴家和作曲家 Ludovico Einaudi 鲁多维科・艾奥迪 1955年出生于意大利都灵，他的母亲也是一位钢琴家，从小就受到了钢琴音乐的熏陶。在米兰音乐学院学习时获得了意大利著名的作曲家、指挥家和音乐教育家 Luciano Berio 卢西恩・贝利奥 的指导，并获得了作曲学位。他的音乐总被认为是容易接近和可信的，被描述为最低纲领主义者，古典，氛围，当代和深动感人的受欢迎的声音，曲风深受巴哈、莫扎特、肖邦等音乐家的影响，古典大气而不乏现代感。
97年BMG出版了他的电子竖琴作品《Stanze》，一年后，他的一组钢琴独奏小品《Le Onde》问世。02年3月，《Eden Roc》进入英国古典音乐排行榜前十，而作品《I Giorni》自发行至今一直居于排行榜前二十。Ludovico Einaudi 鲁多维科・艾奥迪本来从事比较严肃的交响音乐创作，最初为一些芭蕾舞剧配乐，以古典音乐为主。1996年开始发行自己独特风格的个人专辑《Le Onde》，并获得世人的瞩目和赞誉，此外他还进入电影配乐领域，为电影《Luce Die Miei Occhi》创作的音乐在2002年获得了意大利最佳电影配乐奖，还有其他3个国际奖项。他的作品追求简约主义的风格，吸取了世界音乐和流行音乐的各种元素，宁静优美，又充满沉思和内省的气质。与一些世界音乐圈的大师如亚美尼亚Duduk演奏家 Djivan Gasparian、马里Kora琴演奏家 Ballake Sissoko 的合作，为他的作品增加了更多的地域与音乐融合的表现力。2006年《Divenire 演变》专辑，音乐主题继承了早先作品的思绪和简约风格，除钢琴之外，Ludovico Einaudi 鲁多维科・艾奥迪 扩展他的音乐框架，与利物浦皇家爱乐乐团合作和使用充分的Ipod环路效果，让音乐内涵愈发充满含张力，强烈，忧郁，冥想和美丽。Einaudi早先专门从事古典音乐的创作和电影的配乐，曲风深受巴哈、莫扎特、肖邦和法利亚.M等音乐家的影响。80年代中后期转向更自由的创作风格，意外地和新世纪音乐与极限主义走进同路。意大利音乐家Ludovico Einaudi,鲁多维科.艾奥迪,本来从事比较严肃的交响音乐创作,进入80年代中期之后才开始尝试用新的形态来进行进行音乐制作和电影配音创作,却没有想到因此进入newage领域而一发不可收拾.Ludovico Einaudi无疑有着更为扎实和浑厚的古典钢琴和交响乐作曲功底和才华,使得他的音乐浑然天成,尽管只是独奏,气势依然独到.
LUDOVICO EINAUDI: ELEMENTS (Piano)
Elements - Deluxe
艺人 Ludovico Einaudi
Arrangement: Piano (PF)
Skill Level: Intermediate - Explain this
Composer: Ludovico Einaudi
Catalogue #: CH84205
Release date: 16 October 2015
When you hear an album was inspired by the likes of the periodic table, Euclid’s geometry, Kandinsky’s writings and the matter of sound and colour, you get a sneaking suspicion that it might be just a little bit special.
And never one to disappoint, Elements is as breathtakingly beautiful and poignantly polarised as one would expect from one of this generation’s finest classical talents. While much of Ludovico Einaudi’s piano-heavy back catalogue is known by many from Shane Meadow’s This is England franchise, his more experimental material receives little exposure in comparison. An ever-growing presence in more recent releases, the Italian maestro continues his movement into the sphere of electronica with his latest 12-track offering – and with great effect.
Providing the perfect juxtaposition to the likes of the classically classical “ABC” and the all-enveloping opener “Petrichor”, tracks like “Numbers” show Einaudi’s other side, creating a tension that breeds a sense of depth and movement throughout. Nowhere is this more apparent than the emotive “Four Dimensions” – arguably one of the LP’s pinnacles – which is followed immediately by a bassline more suited to a certain Fleetwood Mac banger, forming the backbone of "Elements".
While these more electronic flourishes are to be admired in their own right, the tracks that really stand out are those the Italian composer is best known for. The likes of the ever-evolving “Drop” and strangely sinister “Mountains” show that Einaudi is very much still doing what he does best.
To say his music his cinematic is all too obvious and Einaudi’s ability to create intricate and emotive musical narratives is a rare gift to be admired. With album closer “Song for Gavin”, we see this side of Einaudi that so many know and love – his ability to write effortlessly poignant and heart-rending pieces of wholly immersive music with nothing more needed at his disposal than his trusty Steinway.
Audio CD (October 23, 2015)
Number of Discs: 1
Elements is the long-awaited new album from world-renowned contemporary classical composer Ludovico Einaudi. The exclusive Piano folio was produced in close collaboration with Einaudi himself, and features all 12 tracks from the album, plus two exclusive backing tracks, a new solo arrangement of the title song, and unique illustrations.
The much-anticipated new album includes the first single Night, which topped the iTunes Classical Chart, while being played on both Classic FM and BBC Radio 1. Einaudi's crossover appeal emerges from his ability to craft subtle and compelling compositions and the music on Elements is absolutely no exception.
The songs on this album are inspired by Einaudi's interest in exploring different paths, with hypnotically beautiful pieces like Petricor, Whirling Winds and Logos signalling a development of his sound while also retaining that inexpressible quality that makes him beloved by millions. Two tracks, Night and Elements, feature audio backing tracks which can be accessed with this Einaudi sheet music, while a special solo arrangement of Elements is also included.
Featuring exclusive drawings by Einaudi on the cover and inside, Elements is an exceptional songbook, allowing you to play every track from the wonderful new album as accurately as possible.
Ludovico Einaudi has composed a vast number of scores for film and television, as well as releasing universally-acclaimed albums of contemporary classical music. His unique sound makes his evocative compositions instantly recognisable, and his new album Elements is set to be a modern classic.
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A Periodic Tale: The Elements of Ludovico Einaudi
by Jamie Otsa, Photography by Ray Tarantino, 29 September 2015
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It is almost a decade ago. I am sitting at a desk in my halls of residence at University, desperately trying (and failing) to assimilate a textbook about the Mesopotamian city of Uruk before an exam. I close my eyes and lean back in the chair, blocking out everything but the music I am listening to. My concentration focuses and I relax. Another time, I am older; lying in bed with the woman I love in a dimly lit room on a cold morning, surrounded by her possessions, feeling our chests rise and fall and the world outside rush silently past as we are cocooned in this moment. Older still, I sit bathed in the glow from my laptop screen somewhere past midnight and before sleep, attempting to write something of value, wracked with self-doubt and dredging creativity from the recesses of my mind. All of these memories are mine, and they are drenched in rich sensory cues which I carry with me as souvenirs of a life that I believe I have lived, but sometimes struggle to piece together. They are unified by one thing - the music of Italian composer and musician Ludovico Einaudi.
I call him on a cold September morning as he flies into the UK to promote his new album Elements, released October 16th on Decca Records. He speaks softly and eloquently in perfect English with a heavy Italian accent, considered pauses and guttural musings betraying a deliberate search for the correct words with which to express himself accurately in this unfamiliar language. "I just arrived yesterday from Milano, and today in Milano it is raining, and in London it is sunny, so it is good," he laughs wryly when I ask him how his day is going.
Although most often referred to as a classical composer and pianist, Einaudi's vast collection of work now encapsulates much more than such a restrictive label, something which to truly understand you must explore his beginnings. Often he can be found drawing influence from folk, world music, rock and pop with a spirit of open-mindedness and musical collaboration which permeates the new record, a desire for variety that echoes back to his earliest musical memories, as he recalls; "Talking about this is something that really connects me to my childhood. In my family when I was a child - when I was 8 or 9 years old - I had my mother who was piano influenced playing classical music and folk songs for me and my two sisters. The oldest one was 9 years older than me. Obviously we are talking about the '60s and at that time she was a teenager and introduced into the house all the records of that moment, the music that at the time was exploding everywhere. I remember The Beatles, The Rolling Stones, Bob Dylan and later Jimi Hendrix, this music was the music that I started to be connected with."
The young Einaudi continued his exploration of different musical worlds in the years to follow, not least studying at the Conservatorio Verdi in Milan and then under electronic music pioneer Luciano Berio, before reconnecting with the rock and pop music which set him on his path. "I didn't want to - or have any reason to - say that my music was this or that" - he explains, continuing "I remember for me that the period at the end of the '70s and beginning of the '80s there was not something that was inspiring me so much in the area of popular music, but then even later I was spiritually elevated by some of the music that came after that period. I have to say I grew up listening to different musical worlds and so I think my very DNA as a musician belongs naturally to different worlds. I feel in a way... richer, being able to attend a classical concert and then go to a Radiohead concert the day after."
Since those humble origins in Turin as a boy, his music has grown to dominate the field of what some have called contemporary classical or neoclassical new-age, earning him global success and a legion of devoted fans around the world, though slow to coalesce, in part due to what he refers to as a "misunderstanding in the idea" that his early piano albums meant that classical was the only thing he was connected to musically. "At the beginning there was a more classical audience and I was, in a way, missing the fact that I was touching other people connected to a rock background or a non-classical background; that they were following what I was doing. I wanted to get in touch with those people because I knew that I was belonging also to that world. So I am happy that after some years this is happening more. I really like to see someone who is a fan of metal music but also at my concerts" he pauses here, chuckling "I like it because I think it reflects my own experience, it's a part of my background and probably there is a little slice of that in the music that connects with other people."
Elements - the latest addition to his body of work - sprung from both a desire not to stagnate creatively, and an insatiable curiosity and thirst for knowledge. "I didn't want to proceed... automatically... in what I was doing. Sometimes you're in the middle of your career and you're writing things... almost like an actor" he says, of going through the motions "It's like you have to build a house and then you build another and every house looks the same. I didn't want to do that. For me every album is important - for myself; for finding a new life, a new perspective, a new point of view."
The theme of the album is essentially an examination of the constituent components of our world, our individual lives, and the interconnectedness of everything which we interact with and live alongside. To try and understand how these elements were important in every aspect of our life. "Talking about architecture you can analyse the elements of a building; the door, the windows, how you create every detail that is part of a general idea. In the end you can read about architecture, geometry, science or philosophy, whatever, and you can exchange the fields, and every thought about those ideas can be interchangeable between subjects. It was a reflection to me that was important; to get a new perspective."
It is, he says, a big theme that he could continue to explore "for years, in a way" and one which has clearly fired his creative imagination to new levels. Einaudi has long had a hand in all the artwork for his records, but this time the sleeve is an original piece by the composer himself. "I was reading Kandinsky's writing about the attraction of points and lines in drawings - and the relation between those themes - and sound. I am always trying to give some direction and inspiration to the person who does the artwork for the album so we discuss together themes - sometimes it's starting from my photography that I took when I was travelling, like on the previous album. This time I started to work with the idea of symbols. I was trying to express with the drawing my direction and then we tried it and we found that it was already there, it was working already, so we kept it for the cover!"
One of the major universally uniting aspects of Einaudi's work is something which many instrumental musicians have discovered and turned to their advantage over the years - once lyrics, or a specific language, are removed from a composition, the music itself becomes the means of communication with the audience, transcending barriers and borders, opening up avenues of interpretation and emotional resonance, with each listener able to attach their own significance and meaning to a particular moment. "I think it's so fascinating that you can talk through music with so many different people," he enthuses as we discuss this. "This is so mysterious and fantastic to me. It's a power that only music or, I don't know what else, can have. I really also like the fact that in a way my changing audience became quite mysteriously even younger over the years - it's usually the opposite that happens! You start with young people and then they grow as you get older and, for me, sometimes it's exactly the opposite and it's something that is so beautiful to have - comments from people that are in their twenties."
His lasting relevance no doubt lies in some part due to his talent for composing such empathic, evocative soundscapes which - apart from scoring a multitude of internationally celebrated movies - are both soothing and mentally stimulating, making them the perfect choice of background music for studying or creative pursuits, as Einaudi himself testifies from his fan's stories; "I enjoy so much to have heard the reactions from young people that tell me what they feel, and also what they do, with the music. It's beautiful to know that people are writing, studying, thinking - to know that music is helping them even through personal problems. It's fantastic."
Still working at a rate of knots as he approaches his sixtieth birthday later this year, the composer's creative output shows no signs of slowing down, something he attributes to his work ethic and a change in his confidence in his own abilities over the years. "I am a bit more confident. When it's dark and foggy and you look back and say 'this piece of music, I don't know if I can achieve again this result' - in a way this has always been happening - now, I can get negative but not so deeply as I used to go before."
I ask him if he ever suffers from writer's block. "Not completely, of course it's not every day which you wake up with the best inspiration. It's coming back and forth like a sound wave. I know that if you follow it, one day the sound wave is going up, and this is the moment where you have to catch it. For me you don't have to wait for inspiration, you have to search for it, you have to work hard."
It's this constant search for inspiration, this drive to create and to understand, that has fuelled Einaudi's spectacular contribution to the world of music. There's no doubt the world, and the industry in which he operates, have changed a great deal since his childhood. He now finds himself if not at odds with, then at least brushing up against, the relentless march of technology, as the UK's most streamed classical artist, with over 130 million streams of his tracks. When I ask him whether this has made any impact on his career he is typically matter of fact; "I think the fact that music became so accessible is very nice because you can immediately listen to any piece of music you like, and this is beautiful. In that process there must be a way of showing respect to the people that are working in music. There must be a reparation, that it doesn't have to be completely considered as something that is coming from the sky, because it doesn't. There are people involved, not only me, but it's the result of work, even when you are using some software, there are people that have made this, but in the end it is lovely of course - the fact that you can listen to everything is fantastic."
We say our goodbyes and I am pulled back to reality, alone in my room watching the red recording light blink and the sound wave graphic on my iPhone bulge and deflate, the physical remainder of our conversation which until a second ago hung in the air and is now consigned to a screen. Every connection we make in turn becomes part of something greater still, an endless human grasping for understanding, and in time all of this will become another element of my life, another memory, another souvenir, and I will wonder if it ever even happened at all.
Elements is released on 16th October 2015 via Decca Records.
01. Petricor [6:35]
02. Night [5:31]
03. Drop [5:00]
04. Four Dimensions [4:42]
05. Elements [6:06]
06. Whirling Winds [5:59]
07. Twice [5:21]
08. ABC [3:06]
09. Numbers [4:35]
10. Mountain [6:13]
11. Logos [6:23]
12. Song For Gavin [3:19]
13. Drop Variation [3:49]
14. Elements Variation [3:39]
15. Twice Variation [5:26]