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5无损音乐格式古典音乐冷门 - ECM朗厄兰德(b.1961) 不存在的国土
The land that is not (2011)
Sinikka Langeland
西尼卡·朗厄兰德 - 不存在的国土 / 那并不存在的土地 / 虚无世界
Composers: Sinikka Langeland (b.1961) 西尼卡·朗厄兰德 (http://www.sinikka.no/)
Words: Edith S?dergran (1892-1923) 伊迪特·伊蕾内·索德格朗
Olav H. Hauge (1908-1994) 奥拉夫·H·豪格
Artists: Sinikka Langeland kantele, vocals
Arve Henriksen Trumpet
Trygve Seim Tenor Saxophone, Soprano Saxophone
Anders Jormin Double-Bass
Markku Ounaskari Drums
date: 23.09.2011
1专辑标题《不存在的国土》取自芬兰着名的瑞典语女诗人索德格朗1925年的同名遗作诗集，里面包括一些从她以前的诗集中精选出来的诗歌。
伊迪特·伊蕾内·索德格朗（瑞典语：Edith Irene S?dergran，1892年4月4日－1923年6月24日），是芬兰着名的瑞典语女诗人。她是北欧文学史上最早的现代主义作家之一。她深受法国象征主义、德国表现主义、俄国未来主义的影响，这些可以在她的诗歌中找到证据。她一生只出版了四部诗集，31岁时死于肺结核和营养不良。她在世时没有获得读者和文学界的认可，但是后来人们发现了她的作品的文学价值。现在，伊迪特·索德格朗被认为是北欧文学史上最伟大的作家之一。直到现在，她仍然影响着许多诗人，尤其是瑞典语歌词作者。
不存在的国土
作者：伊迪特·索德格朗[芬兰]
我渴望那不存在的国土，
因为我对恳求存在的一切感到厌倦。
月亮用音色的古老文字对我讲起
那不存在的国土。
在那里我们一切愿望得到奇妙的满足，
在那里我们所有的枷锁纷纷脱落，
在那里我们流血的额头冰凉下来
在月光的露水中。
我的生命有过高烧的幻觉。
而有一件事被我发现，有一件事为我所得——
同向那不存在的国土之路。
在那不存在的国土里
我的爱人戴着闪烁的王冠散步。
我的爱人是谁？夜沉沉
星星颤抖着回答。
我的爱人是谁？他叫什么名字？
苍穹越来越高
而一个淹没在茫茫雾中的人类的孩子
不知道回答。
可是一个人类的孩子除了肯定没有别的。
它伸出的手臂比整个天空更蓝更高。
在那里出现回答：我为你所爱，永远如此。
译者：北岛??????????????
2奥拉夫·Ｈ·豪格（Olav H. Hauge, 1908-1994）。挪威着名诗人，生于乌尔维克，在那里以种植苹果为生。他一生生活简朴，深受中国古代诗人的影响和启示。他自六十年代初以来出版了《礼物》等十多卷诗作。此外，他还是一位知名的翻译家，他曾把法国象征主义诗人和一些英美作家的作品译成挪威语。
Further adventures at the interstices of folk music and jazz-rooted improvisation, as Sinikka Langeland takes the work begun on the much praised “Starflowers” to the next level. As the Irish Times’s Ray Comiskey noted of the earlier disc: “Sinikka Langeland is a gifted folk singer, but not one stifled by tradition. Her ability to work seamlessly with jazz musicians, as she does so memorably here, is part of the reason for the success of this marriage of folk, jazz and poetry. (…) Individually and collectively, the quintet is superb, Henriksen and Seim play brilliantly off the voice and each other, while the group catches a variety of moods persuasively; they can groove with understated power (…)” All of this applies with equal pertinence to “The Land That Is Not”.
Background
I long for the land that is not
for I am weary of desiring all things that are.
The moon tells me in silver runes
about the land that is not.
the land where all our wishes
are wondrously fulfilled,
the land where all our chains fall away,
the land where we cool our gashed foreheads
in the moon’s dew.
- Edith S?dergran
Five years after her stunning ECM debut recording, here is a sequel with the same highly creative Norwegian-Finnish-Swedish personnel, once more engaged in adventures at the interstices of folk song, literature, and jazz-rooted improvisation, On “The Land That Is Not”, Norwegian singer and kantele player Sinikka Langeland builds upon the blueprint established with “Starflowers”. As the Irish Times’s Ray Comiskey noted of the earlier disc: “Sinikka Langeland is a gifted folk singer, but not one stifled by tradition. Her ability to work seamlessly with jazz musicians, as she does so memorably here, is part of the reason for the success of this marriage of folk, jazz and poetry. Individually and collectively, the quintet is superb, Henriksen and Seim play brilliantly off the voice and each other, while the group catches a variety of moods persuasively; they can groove with understated power”. All of which applies with equal pertinence to “The Land That Is Not”.
Indeed, the band is stronger now, the musicians having played concerts with Sinikka in the intervening years in diverse permutations and also strengthening their improvisational understanding with shared work in other contexts – Henriksen playing in Seim’s large ensemble, for instance, Seim and Ounaskari working together in Iro Haarla’s group, and so on, the circle of influence continuing to widen. And Anders Jormin, who has been Sinikka’s preferred bassist since the mid-1990s, also contributes as co-composer of two pieces here.
For their new quintet recording, Sinikka takes as her inspirational starting point poetry of Edith S?dergran (1892-1923) and Olav H?konson Hauge (1908-1994). S?dergran, Swedish-speaking poet in Raivola, near St Petersburg, counts now as one of the pioneers of modernist Swedish poetry, but in a brief life terminated by tuberculosis lived to see little recognition for her work. “The Land That is Not” (“Landet som icke ?r”) was amongst her last poems, and has been compared to Chuang-Tzu’s “Homeland of Nothing Whatsoever”, a work of spiritual detachment, claiming its distance from the chaos of human society.
S?dergran, isolated by circumstance, turned her loneliness to artistic advantage in her verse. The Norwegian Olav H?konson Hauge, who similarly influenced a line of modern writers, was also a poet of solitude with an affinity for far eastern verse, and the way in which he can convey a landscape in a few words has some of the taut economy of the Zen poets. Hauge, who lived his whole life in Ulvik, supporting himself as a fruit farmer, began to publish poems in the 1940s. With both S?dergran and Hauge, in the verses set to music here, there are thematic connections to Hans B?rli, the lumberjack poet of the Norwegian forest, whom Sinikka celebrated on “Starflowers”. In these recordings independent voices answer to independent voices…and there is a freedom in the moments when Sinikka is alone and unaccompanied, just as there is in the group improvising that arises so naturally out of the song structures.
Sinikka Langeland (b.1961) 西尼卡·朗厄兰德
Sinikka Langeland (born 13 January 1961 in Grue, Norway) is a Norwegian traditional folk singer and musician (kantele), known for combining traditional music with elements of jazz.
“The way I use my voice has been influenced most strongly by Norwegian folk singing. Singing cow calls can actually be as challenging technically as singing an opera aria.”
Sinikka Langeland was born in Kirken?r in southeastern Norway in 1961, and studied piano, guitar and contemporary folksong. In 1981 she discovered the kantele (traditional 39-string dulcimer), which would become her main musical instrument along with the voice. She has said: “My Karelian mother told me about the instrument when I was a child, and one day we went to Finland to find one for me. I had not heard it before I got one. First I played just for fun, but after a while I felt a real sense of bonding with the instrument.” The sound-world conjured up by Langeland’s canteles seems to carry archaic echoes older than ‘folk’ tradition.
After studies in Paris and Olso, she became absorbed in a research project to sift through archives of old songs and music from Finnskogen and expand her “folk” repertoire to include rune songs, incantations, and old melodies from Finland and Karelia, as well as medieval ballads and religious songs. Langeland’s songs often focus on the relationship between people and nature.
She recorded her first solo CD in 1994, and made her ECM debut in 2007 with Starflowers:“There are jewels everywhere on this arresting example of ego-free music-making,” enthused the Irish Times. She followed this up with Maria’s Song, in the company of two distinguished classical musicians – organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter – interweaving folk melodies with the timeless strains of J S Bach. The Land that is Not is, like Starflowers, a quintet album, which in this case draws its inspirations from poets Edith S?dergran (1892–1923) and Olav H?konson Hauge (1908–94).
Langeland’s 2015 album,The Half-Finished Heaven, is a suite of songs largely based around “the mystery and joy of everyday encounters with animals in the forest”. John Kelman described it as “an album of touching melancholy, haunting beauty and oftentimes completely unexpected flights of improvisational fancy from a quartet of simpatico players”.
In 2010 Sinikka Langeland received the Rolf Gammleng Prize and in 2012 the Sibelius Prize.
Track list:
1. The Land That Is Not 07:56
2. What Is Tomorrow 04:49
3. A Strip Of Sea 02:27
4. Triumph Of Being 06:15
5. The River Murmurs 03:45
6. Lucky Cat 04:58
7. It's The Dream 04:17
8. The Day Cools 05:41
9. The Rose 03:14
10. Spring In The Mountain 03:26
11. Slowly The Truth Dawns 06:53
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