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5冷门 -ECM新圣祷
Jan Garbarek / The Hilliard Ensemble - Officium Novum (2010) {ECM 2125}
Musicians: Jan Garbarek - soprano and tenor saxophones 杨·葛巴瑞克
The Hilliard Ensemble: 希利亚德室内合唱乐团 / 希拉德吟唱班
David James - countertenor
Rogers Covey-Crump - tenor
Steven Harrold - tenor
Gordon Jones - baritone
Genre: Classical, Jazz
Officium may refer to:
Officium is a Latin word with various meanings in Ancient Rome, including "service", "(sense of) duty", "courtesy", "ceremony" and the like
The Divinum Officium is the official set of daily prayers prescribed by the Roman Catholic Church to be recited at the canonical hours by the clergy, religious orders, and laity
The Sanctum Officium was the name of the department in the Roman Curia which oversaw Catholic doctrine
Officium Defunctorum is a musical setting of the Office of the Dead, composed by the Spanish Renaissance composer Tomás Luis de Victoria in 1603
Officium Triste, Doom metal band from Rotterdam, The Netherlands
Officium (album) an album by Norwegian saxophonist Jan Garbarek, featuring The Hilliard Ensemble
The Hilliard Ensemble is a British male vocal quartet originally devoted to the performance of early music. Founded in 1974,[1] the group is named after the Elizabethan miniaturist painter Nicholas Hilliard.
The Hilliard Ensemble最早成立於1974年，其风格主要是专注在文艺复兴、前巴洛克、巴洛克时期的人声诗歌吟唱，阵中成员起初都是男性，之後慢慢才有女性成员加入。Hilliard Ensemble追求的是一种纯粹的和谐和声，而他们也以此作为钻研中古世纪音乐最重要的中心思想。
Long-awaited third album from one of the most touching and magical sound combinations in music today: Norwegian saxophonist Jan Garbarek with Britain's premier vocal group, The Hilliard Ensemble. The first album, Officium, has sold nearly 1.5 million copies, and it is still in the charts as one of the top 20 best-selling classical albums of the past decade, well after its 1994 release.
The inspired bringing together of Jan Garbarek and the Hilliard Ensemble has resulted in consistently inventive music making since 1993. The unprecedented “Officium” album, with Garbarek’s saxophone as a free-ranging ‘fifth voice’ with the Ensemble, gave the first indications of the musical scope and emotional power of this combination. “Mnemosyne” (1998) took the story further, expanding the repertoire beyond ‘early music’ to embrace works both ancient and modern.
Now, after another decade of shared experiences, comes “Officium Novum”, the third album from Garbarek/Hilliard, recorded, like its distinguished predecessors, in the St Gerold monastery. A central focus this time is music of Armenia based on the adaptations of Komitas Vardapet, pieces which draw upon both medieval sacred music and the bardic tradition of the Caucasus. The Hilliards have studied these pieces in the course of their visits to Armenia, and the modes of the music encourage some of Garbarek’s most impassioned playing. Alongside the Armenian pieces in the “Officium Novum” repertoire: Arvo P?rt’s “Most Holy Mother of God” in an a cappella reading , Byzantine chant, two pieces by Jan Garbarek, including a new version of “We are the stars”, as well as the Spanish “Tres morillas”. There is also a new account of Perotin’s “Alleluia, Nativitas”: the freedom of interpretation is testimony to the way the project as a whole has grown since its introduction on ECM New Series, with the Hilliard Ensemble now very much involved in the music’s improvisational processes and implications.
More than 15 years separate the release of Jan Garbarek's best-selling album Officium from his Officium Novum. The newer release, like the original, features Garbarek on soprano and tenor saxophones and the male vocal quartet, the Hilliard Ensemble. In both albums, Garbarek takes preexisting vocal pieces and embroiders them with his soulful obbligato contributions. The chaste austerity of the men's voices and the reedy plaintiveness of the saxophone make for a surprisingly effective pairing. Garbarek and the singers manage to merge two very different musical worlds without compromising the integrity of either, and that is part of what gives these albums such an impact. The first album used primarily Medieval and Renaissance material -- chants, motets, and liturgical song -- while this second mostly uses more recent source material, primarily from Eastern Europe. In addition to several medieval sources, included are works by early 20th century Armenian priest, musicologist, and composer Komitas; Nikolai N. Kedrov, a Russian composer of the same era; mid-20th century Greek composer Giorgios Sefaris; Estonian Arvo P?rt; and several original pieces by Garbarek himself. Like the first album, this one is suffused with a sense of distant mystery and a profound, powerful melancholy that is given voice with intense feeling. The sound again is spacious and warmly resonant, with an earthy, enveloping ambience. This album will be a must-have for anyone who loved the first one, and it should appeal to any listener with an affinity for meditative Eastern European spirituality, especially when tied to contemporary expressivity and stylistic freedom.
Track List:
01. Ov Zarmanali 4:11
02. Svjete Tihij 4:14
03. Allting Finns 4:18
04. Litany 13:06
05. Surb, surb 6:40
06. Most Holy Mother Of God 4:34
07. Tres Morillas 3:32
08. Sirt Im Sasani 4:06
09. Hays Hark Nviranats Ukhti 6:25
10. Alleluia. Nativitas 5:20
11. We Are The Stars 4:09
12. Nur Ein Weniges Noch 0:19
自七○年代起，就被公认是当今欧洲爵士乐的领导人之一的挪威籍乐手Jan Garbarek，一踏入乐坛，就开始尝试将萨克斯风的传统音色个性颠覆，寻求另外的发声音调与运用方式。
Garbarek曾多次表示：「萨克斯风是种很神妙的乐器！」，以爵士乐器地位而言，它的地位宛如中国武侠小说中对「剑」的形容：「百兵之首」，如同古典乐领域的小提琴正是该领域的「百器之首」。但在六○年代选择萨克斯风作为主攻，反而加重了乐手的心理负担，因为正如各种技艺颠仆不变的共同定理：「易懂者难精；擅者众而难出类拔萃。」，在爵士乐器中，萨克斯风是演奏高人、鬼才、大师最多的一种乐器，说Garbarek聪明也好，避重就轻也好，他吹奏高音萨克斯(Soprano）的方法从一九六九年第一张在美国发行的录音作品起，就「不正常」。他全力避开萨克斯风那种铜管乐器会产生「摩擦热度」的部分，只贴近尖细的高音，再舍弃传统美国爵士「急骤」的即兴桥段，刻意尽可能延长尾音，这种拉长音符间距的吹奏方式，有点类似迈尔斯·戴维士的「酷」派缓慢吹法，却因为旋律基调冷得多，而被着名美国乐评朗·文恩（Ron Wynn）称为「冰调」（Icy Tone）。
单是吹奏风格还不足以令整体爵士界对Garbarek刮目相看，Garbarek进一步采集了他祖国挪威与邻近北欧国家如瑞典等地区的民谣与民俗音乐，加以改编、分解，进而融入他自己的演奏中，从他作品的风格变化能够明显地看出葛巴瑞克的持续尝试；一开始Garbarek还或多或少在录音作品中，选择若干前人演绎过的爵士标准无损古典音乐专辑曲目，渗入个人风格吹奏，到了一九七二年的作品，连一向激赏他的乐评朗·文恩（Ron Wynn）都开始不禁表示怀疑：「Garbarek的兴趣明显地从与各种爵士音乐元素的结合转向，在他作品中再也听不到任何"爵士"味，取而代之的是地方民俗音乐甚至于电子实验音乐。」，这个说法在形式上并没有说错，Garbarek的确开始大力抛开美国爵士传统，但是这并不意味Garbarek创作或演奏的音乐不是爵士乐，如果依「如何即兴」来定义是否该归类到爵士乐，那么其实他仍然没有完全脱离美国爵士主流传统，也就是依和弦即兴的基本路径，只是所用的素材令美国乐界更陌生了。
Garbarek大胆的方向与陌生的素材组合都令「本位主义」盛行的美国乐评界感到畏惧：因为他们知道：当爵士革命导师迈尔斯·戴维士领导的七○年代融合乐革命向摇滚乐拢，并造成潮流与跟风时，同时也意味着美国本土的爵士乐发展与创造力的衰退。Garbarek所代表的正是欧陆更自由、更刺激、更具包容性的即兴音乐新潮流，当这十年的分水岭过后，爵士霸权的转移将无可避免。
这位曾被欧洲即兴音乐杂志喻为「北欧峡谷之风」的高音萨克斯风手，在七○到八○年代这二十年间，几乎成为挪威的「音乐民族英雄」，他漠视美国主流爵士乐媒体如《纽奥良邮报》嘲笑他即兴吹奏北欧民族牧歌像「羊叫」、「没有文化的牧童」等谩骂，用萨克斯风作出更多极地动物或气候的异声。他录制的作品包罗万象：与民谣歌手合作人声与萨克斯风的互动即兴、与也在音乐文化上争取独立的波罗的海三小国现代音乐作曲家合作、替喧嚣的电吉他实验音乐伴奏与切分音等等，在在令聆听者大开「耳」界。
但当Garbarek在美国乐评心目中似乎再创新也不足为奇时，他一九九二年与「希拉德吟唱班」（Hillard Ensemble）推出了震动世界古典乐界的作品《Officium》；这张作品的无损古典音乐专辑曲目全都是古老的葛利果圣歌，「希拉德吟唱班」也以处理古乐的严谨态度依谱忠实呈现，但Garbarek的表现大出人意表，他彷佛天籁的高音萨克斯风穿插在葛利果圣歌吟唱的段落间隙间，肆无忌惮地以他认为合宜的音符即兴表达对神明的崇敬。这张录音从欧洲引起热潮燃烧到美洲大陆，成为少见的雄踞美国《告示牌》古典榜单前茅的「非传统古乐」。
自此Garbarek在美洲的名声才算确立。一九九六年，他再度回到他熟悉的苦寒国度，与以《拉普人之歌》轰动世界的挪威萨米（Sami）原住民艺人玛莉·波依娜录下新作《可见的世界》（Visible World），他高亢的萨克斯风模仿水鸟与波依娜野性而清越的嗓音共同徜徉在北欧带着碎冰的蜿蜒小河间，这位年过半百的牧童似乎隐隐暗示：唯有北欧清冷的峡谷，才是他如同海鸟般自在的高亢萨克斯风最佳栖身之所。
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