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Urna Chahar-Tugchi 乌仁娜 -《Tal Nutag》[MP3!]

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  • 摘要:
    发行时间1995年
  • 时间: 2005/04/21 13:45:13 发布 | 2005/04/21 13:45:13 更新
  • 分类: 音乐  其它音乐 

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专辑中文名Tal Nutag
资源格式MP3
发行时间1995年
简介

IPB Image
http://www.urna.de/media/cover/talnutag.jpg

专辑名称: Tal Nutag
专辑歌手: Urna Chahar-Tugchi 乌仁娜
发行日期: 1995年
专辑语种: Mongolian
专辑类型: Acoustic
唱片公司: 大大树
压缩比率: 192Kbps

专辑介绍:

三秒钟见证爱情萌芽
三十年刻画岁月荣华
三世紀珍藏永恒传统

这是Sony在西藏拍摄的DV广告用的广告词,配乐正是用Urna这张专辑中的Hodoo。敬畏广告无边的力量,能够将原本无人问津的音乐推到世人耳旁。婉转,凄美,清澈,自然是Vaaalen听后想到的形容词,尽管这并不能将Urna的特质表达出来,除非有机会聆听到这样的嗓音,否则决然无法想象到有这样的另一个世界存在。95年问世的Tal Nutag让西方人深深领略到了东方音乐的魅力。遗憾的是,如此绚烂的东方音乐是在德国发行的。不由让我想到也许在东方世界的某个角落是不是还有像Urna一样的艺术家需要远渡重洋,才能将民族的精粹借由西方伯乐的慧眼传达给整个世界。当然也就不要追究Sony是不是真的不知道蒙古与西藏的区别了,至少让大众听到Urna的歌声,这本身就是一种积德。

你还可以找到不少耳熟能详的旋律。Nomundalai中文版别人也唱过,但豪迈之气比之蒙古语实在逊色;Jigder nana早几年在立邦漆广告里配合着牧民们一齐刷着油漆,可惜这样的场景真正的蒙古牧民们能否经历到;Beijing lam也是知名的蒙古民歌,最后的爽朗笑声让Vaaalen对草原无比的憧憬。-----by Vaaalen

您一定看不懂这张唱片的标题与演唱者,但是看唱片封套上的人物又是东方面孔。告诉您,她是内蒙古人,而她唱的歌是蒙古草原的歌与即兴演唱。乐器伴奏只有二个人,一个人弹吉他或曼陀铃;另一个则弹像类似鲁特、吉他的Zither拨弦樂器。您一定猜想蒙古草原的歌一定很豪壯,刚好相反,她唱的是非常柔美、非常轻声、非常委婉、非常欢悦的蒙古草原情歌。与「拉普人之歌」相比,拉普人是凄凉悲壮的,而蒙古情歌则羞羞答答、情长意浓。当然,人声与乐器都录得非常非常的自然...。——唱片圣经榜单入选100张专辑选单

www.urna.de
Music of intimate tranquillity and deep moving expression. The almost classical recording presents Mongolian songs and improvisations in the fine acoustic of a little Bavarian church.

官网上的专辑介绍
她的音乐流露出内心的静谧和深邃的情愫。接近原始的录制方式带来纯正蒙古歌谣以及巴伐利亚小教堂中的即兴哼唱。
Translated by Vaaalen


About Urna:

http://www.urna.de/media/photos/Amilal_Urna.JPG

http://www.urna.de/media/deko/urna9.jpg

http://www.urna.de/media/photos/mongolia-2.jpg


Urna Chahar-Tugchi was born into a family of livestock farmers in the grasslands of the Ordos district in the Southwest region of Inner Mongolia. Today Urna is regarded as one of the most outstanding female vocalists of Asia. Based in Bavaria, Germany, Urna continues to carry the spirit of her homeland in her music as she performs around the world.

Urna出生于内蒙古西南部Ordos地区草原的牧民家庭,如今她已经是亚洲最杰出的女声之一。在德国巴伐利亚,Urna继续着她的事业,将故乡的精神通过音乐呈现给全世界。

Urna's developed her musical talent and instincts while learning the Yangqin (Chinese dulcimer) in Hohhot, the capital of Inner Mongolia, with a visiting professor from the Shanghai Conservatory of Music. At the age of eighteen, Urna decided to leave Mongolia to study at the Shanghai Conservatory of Music – an extraordinarily brave decision, for at the time she did not speak one word of Mandarin Chinese and her family knew very little of Shanghai, let alone its location. With this move, Urna's life and career took a dramatic turn.

Urna展露她音乐的才能和天赋是在学习扬琴的那段时间,那时上海音乐学院的教授正访问呼和浩特。十八岁那年,她做了一个勇敢的决定——离开内蒙到上音求学。当时她连一句普通话也不会讲,她的家人也对上海知之甚少,连位置哪里都不知道。这次远行对Urna的生活和事业产生了戏剧性的转变。

One Russian music critic named Urna, along with the Tuvan singer Sainkho, one of the "two Asian Divas". In the summer of 2003, Urna sealed her place as a major contributor to world music in Europe when she was awarded the RUTH prize in Germany for Best International Artist.

一位俄罗斯音乐评论家称Urna和另外一位Tuvan歌手Sainkho为“亚洲女高音双姝”。2003年夏天,在得到德国RUTH奖最佳国际艺术家称号之后,在欧洲人眼里Urna奠定了世界音乐的重要贡献者的地位。

Urna is gifted with the ability to genuinely communicate with her listeners through her music, as she transcends all linguistic and cultural barriers with her dynamic, soaring voice. Many of Urna’s songs evoke the immense grasslands of Mongolia and tell of the Mongolian ways of life, and her performances are unforgettable to those who witness or participate in her music. Many describe Urna's singing as akin to the experience of a religious ceremony -- although her music does not necessarily speak of religion, she explains, “I interpret my songs with all my life and energy; therefore, I feel rebirth after each performance.”

Urna的天份在于能够超越语言和文化的阻隔,通过她生动高亢的嗓音与听众用音乐交流。她的许多曲子都能唤起人们对蒙古大草原和蒙古生活的联想,让身临其境的听者无法忘怀。尽管她的音乐和宗教扯不上多大关系,可不少人觉得听她唱歌像是经历一场宗教仪式,就像Urna自己说的那样:“我把我的生活和精神融入了我的歌曲中,因此每一次的表演对我来说就是一次重生。”

While Urna is rooted in the traditional music of her homeland, she continues to take her music in new directions. Her latest compositions emphasize free, brushstroke-like improvisations, which have been inspired by her recent experiences with other cultures and musicians and her life outside of Mongolia.
With this constant yearning to take her music beyond convention, Urna has collaborated with many internationally-renown musicians including the Hungarian violinist Zoltan Lantos, Ramesh Shotham from India, and Muhammud Reza and Saam Schlamminger from Central Asia, and Jerzy Bawol from the Polish band Kroke.

在深深扎根于故乡的传统音乐的同时,Urna不断将她的音乐向新的方向发展。最新的创作强调自由,白描一般的即兴演唱,灵感则来自于她最近与蒙古以外的文化和音乐家碰撞的结果。向来意欲突破传统的音乐理念,Uran与众多国际知名的音乐家进行了合作,其中包括匈牙利小提琴家Zoltan Lantos, 印度的Ramesh Shotham, 中亚的Muhammud Reza与Saam Schlamminger, 以及来自于波兰乐队Kroke的Jerzy Bawol。

Urna's latest recording, Amilal (Life), is a collaborative effort that features accompaniment from the highly acclaimed Zarb percussion masters from Iran, Djamchid Chemirani and Keyvan Chemirani. Completed in 2004, Amilal is Urna’s personal record of her travels after leaving Mongolia, and portrays her views of the world and human beings, as well as her wish for a peaceful world. Musically, Amilal is a departure from the traditional focus of Urna’s past recordings, which center on the traditional songs, life and memories of her childhood in Mongolia. With the new compositions on this recording, Urna maintains the dignity and the spirit of a Mongolian while embracing a newly-emerging identity as a “world citizen.”

Urna 最新专辑Amilal(生命)云集了众多音乐家的心血,包括广受赞誉的Zarb乐器大家Djamchid Chemirani和Keyvan Chemirani。完成于2004年的Amilal是她远离蒙古后的心路历程,刻画了其对世界和人类的理解以及对于和平世界的期冀。风格上,之前几张专辑主要来源于儿时的蒙古传统音乐,而Amilal脱离了原先的音乐理念,以“世界公民”作为全新的定位,同时又保持了原有的蒙古性格和精神。
Translated by Vaaalen


相关下载:About Urna.PDF 点击下载


Urna系列:

Tal Nutag
1995

http://www.urna.de/media/cover/talnutag-k.jpg


Hodood
1999

http://www.urna.de/media/cover/hodood-k.jpg


Jamar
2001

http://www.urna.de/media/cover/jamarasia-k.jpg


Amilal
2005

http://www.urna.de/media/cover/amilal-k.jpg



专辑曲目

1. Yanzagan zootoi saaral mori
2. Jaran hailaas
3. Improvisation I
4. Dünjidmaa
5. Beijing lam
6. Ondor uul
7. Improvisation II
8. Jigder nana
9. Hodoo
10. Zandan hüren
11. Siilenhuar
12. Nomundalai
13. Improvisation III


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