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古典音乐最大的作用就在于能够引人向上，给予灵魂平静和美好。
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而且古典音乐还有着深刻思想的内容，无与伦比精致的技术结构，最经得起时间考验的华丽与高雅。
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古典音乐不但可以开发你的想象力，古典音乐还能提升你的艺术修养，最重要的是在当今浮躁的世界里，
唯有古典音乐能还你一颗平静的心。当你内心真正平静下来了以后，才能从容不迫的面对世间一切纷扰，实现自我突破。
5冷门 - Aeon】巴雷特(b.1959) 为大提琴与电子乐器而作的音乐(24-44)
Composer: Richard Barrett (b.1959) 理查德·巴雷特 (http://richardbarrettmusic.com/)
Artists: Arne Deforce & Yutaka Oya
Genre: Classical, Electronic
Label: Aeon
No.: AECD 1648
TT: 01:50:10
The works presented here belong among the most inventive repertoire for cello and electronics of our time. They invite us to become wondering listeners, to discover new realms of exceptional musical originality, connecting and intertwining the triangle of mind, body and soul; heart, intellect and pleasure; respiration, sensuality and thought.
Richard Barrett BIOGRAPHY 理查德·巴雷特，威尔士作曲家。
Richard Barrett (Swansea, 7 November 1959) is internationally active as both composer and improvising performer, and has collaborated with many leading performers in both areas, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), composing for and performing with the ELISION contemporary music group since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. Recent larger projects include CONSTRUCTION, a two-hour work for twenty-three performers and three-dimensional sound system, premiered by ELISION in 2011, the hour-long life-form for cello and electronics, premiered by Arne Deforce in 2012, and world-line for electric lap steel guitar and ensemble for Daryl Buckley and ELISION, premiered in October 2014. He is currently working on a new evening-length project close-up - a collaboration with Ensemble Studio6 of Belgrade, where he has been based since the end of 2013 - and a new work for the Radio-Sinfonieorchester Stuttgart. Upcoming projects include an evening-length work for Musikfabrik. He studied composition principally with Peter Wiegold, and currently teaches at the Institute of Sonology in The Hague and at the University of Leiden, having previously held a professorship at Brunel University in London. His work as composer and performer is documented on over forty CDs, including seven discs devoted to his compositions and nine by FURT.
Many of Barrett's works are grouped into series, and have extra-musical associations—particularly with the writers Samuel Beckett and Paul Celan, but also the Chilean painter Roberto Matta, and ideas from physics, mythology, astrology and philosophy (in the texts of DARK MATTER). Barrett's compositional techniques, which derive equally and indistinguishably from serial, stochastic and intuitive methods, have since the mid-1980s made extensive use of computer programs he has developed himself (Warnaby 2001; McAuliffe 2014). He regards free improvisation as a method of composition rather than as a different or opposed kind of musical activity (Gilmore 2009). He has often been politically outspoken (Whittall 2005), and in 1990 joined the Socialist Workers Party. While no longer an active member he remains aligned with revolutionary socialism (Lenz 2005).
His codex series of compositions explores diverse ways of using composed frameworks as a point of departure for improvisation, particularly with larger groups, while the fOKT series extrapolates some of FURT's characteristic forms of texture and co-ordination into the octet context of the fORCH ensemble. The results of these more experimental and collaborative projects have exerted an increasing influence on Barrett's other compositional work, which remains mostly fully notated, although several compositions (for example transmission, Blattwerk and adrift) alternate between precise scoring and free improvisation for part or all of their duration. However, these different strategies are used to maximise the musical potential of the whole, rather than drawing attention to the distinction between improvisational and notational methods of composition—as Barrett himself puts it (Barrett 2009): "As a listener I generally prefer to concentrate on what music is doing rather than how it was done".
Since 2003 he has been working on an eight-part cycle of compositions collectively entitled resistance & vision and with a projected total duration of over six hours, of which the first (NO), third (cell), fifth (Mesopotamia), sixth (IF), seventh (Nacht und Tr?ume) and eighth (CONSTRUCTION) have so far been completed (April 2015). CONSTRUCTION is itself a conglomerate work lasting over two hours in performance, consisting of twenty components in four interwoven cycles which may also be performed singly or in various combinations. Since the completion of CONSTRUCTION he has been working concurrently on a number of other projects which continue long-term associations - life-form for cellist Arne Deforce and world-line for ELISION - as well as inaugurating a new one - close-up for the Belgrade-based group Ensemble Studio6.
Tracklist:
Disc: 1
Richard Barrett: Life-form (2011-12) for cello and electronics 生活型 / 生命形式
1. Anaphase 分裂后期
2. Axon 轴突
3. Arboreal 树栖
4. Aciculae 针
5. Afar 远离
6. Aerial 空中
7. Anthesis 开花
8. Apoptosis 凋亡
9. Abyss 深渊
10. Anapanasati 安般念
Disc: 2
Richard Barrett: Nacht und Tr?ume (Resistance & Vision Part 7/8) (2004-08) for cello, piano and electronics 夜与梦
1. I. - II. - III.
2. IV. - V. - VI. - VII.
3. VIII. - IX.
4. X. - XI. - XII. - XIII.
5. XIV. - XV.
Richard Barrett: Blattwerk (1998-2002) for cello and electronics 树叶
6. Foreshadow 先兆
7. Folio 对开
8. Foliage 树叶
9. Foliation 萌芽
10. Fossil 化石
TT: 01:50:10
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