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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。
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无损音乐格式古典音乐冷门 - Naxos冉杰巴兰(b.1955) 弦乐作品
RANJBARAN, B.: Awakening / Elegies / Moto Perpetuo / 6 Caprices / String Quartet No. 1 (Sejong)
冉杰巴兰: 觉醒 / 悲歌 / 无穷动 / 六首随想曲 / 第一号弦乐四重奏
Composer(s): Behzad Ranjbaran (b.1955) 贝赫扎得·冉杰巴兰
Ensemble(s): Sejong
Artist(s): Akahoshi, Ole; Chen, Xi; Guterman, Beth; Huang, Frank; Lin, Wayne
: 06/2010
The music of Iranian-born, American-based composer Behzad Ranjbaran has been praised as ‘noble and brilliantly conceived’ (American Music Guide). Awakening commemorates the triumph of peace over war. Moto Perpetuo combines moments of joy, humor and lyricism, ending with fearless energy. Elegy for Strings is reflective of life’s cycle. Elegy for Cello and Strings is based on the second movement of his Cello Concerto. The Six Caprices explore a variety of violin techniques and textures, while the String Quartet reflects on the nature of life, dreams and the subconscious, and rituals and ceremonies.
Behzad Ranjbaran (b.1955) was born in Tehran (德黑兰), and came to the United States in 1974 to study at Indiana University. After receiving his doctorate from Juilliard in composition (he studied with Diamond, Schwantner, and Persichetti), he became a faculty member there. I confess his name was not familiar to me before this CD arrived in the mail, but perhaps it should have been. Among his recent accomplishments is a piano concerto that was premiered in 2008 by Jean-Yves Thibaudet and the Atlanta Symphony Orchestra under Robert Spano. Joshua Bell premiered his Violin Concerto in 2003. Furthermore, this is the second all-Ranjbaran CD to be released. Delos released his Persian Trilogy in 2003; the performers are JoAnn Falletta and the London Symphony Orchestra. That disc received a positive review in Fanfare (May/June 2005) from Paul Ingram. In his review of that disc, and of another containing Ranjbaran’s Cello Concerto (July/August 2005), Ingram invoked Hollywood, but (I think) without condescension, as he alluded to the composer’s writing with “19th-century confidence.”
Indeed, an appreciation for the more progressive ideas in 20th-century classical music is not a prerequisite for enjoying this disc. If you can groove to Bartók or early Lutos?awski, you’ll be fine. And this CD is time well spent. Ranjbaran has something interesting and appealing to say, and he knows how to say it.
Ranjbaran began playing the violin as a child, and so it is not surprising that strings dominate this CD, and that he writes well for them. Also, I am guessing that he is a popular faculty member at Juilliard, because the booklet notes that he has written for this CD are engaging. He writes that Awakening , a work for string ensemble, “commemorates the triumph of peace over war and violence.” The three interconnected sections are almost self-explanatory in their treatment of “the agony and horror of war,” the contemplative “struggle within individuals,” and “optimism.” Ranjbaran even includes a bit of “eye music” in the score itself—an arch-like “Arc de Triomphe … to represent the triumph of peace over conflict.” This is reprinted in the booklet. The Moto Perpetuo is, again, self-explanatory, and features dynamic, harmonically intriguing writing for the solo violin and strings. One feels hints of the composer’s Persian heritage in this and other pieces, but also the influence of his studies with American mentors.
The Elegy for Cello and Strings is an arrangement from the composer’s aforementioned Cello Concerto. Ranjbaran writes that it was influenced by the melodic figures of Persian vocal music, and that is clearly heard in the cello’s song. The music moves forward with a grave, beautiful dignity, reaching an emotional but restrained climax. Nicely done. Ole Akahoshi’s tone could use a little more juice, but the performance is more than adequate. The Elegy for Strings would have profited from not having immediately followed the Elegy for Cello and Strings. It is a more harmonically anguished work, though, and more varied in mood. (Ranjbaran calls it “an emotional journey.”) The affinity with Bartók, especially the third movement of MUSPAC , is particularly strong here. Bartók also seems to have inspired the inventive and varied Six Caprices, in their blending of technical challenges with music possessing genuine melodic and textural interest.
The String Quartet, from 1988, is the most substantive work on this CD, and makes the most demands on the listener. In terms of both form and content, it has a subtlety that encourages attentive listening.
These are polished and sympathetic performances by a multinational team of performers—appropriate, given the composer’s background and apparent philosophy. The engineering is warm and does not call attention to itself.
Track List:
Behzad Ranjbaran (b.1955)贝赫扎得·冉杰巴兰
Music for Strings 弦乐作品
1. Awakening 00:13:01 觉醒
2. Moto Perpetuo (version for violin and strings) 00:04:33 无穷动
3. Elegy for Cello and Strings 00:06:25 悲歌
4. Elegy for Strings 00:08:01 悲歌
6 Caprices 六首随想曲
5. No. 1. Allegro 00:05:17
6. No. 2. Allegro con brio 00:01:14
7. No. 3. Andante 00:02:24
8. No. 4. Allegro 00:02:04
9. No. 5. Adagio 00:02:52
10. No. 6. Allegro con fuoco 00:02:10
String Quartet No. 1 第一号弦乐四重奏
11. I. Maestoso 00:06:35
12. II. Adagio cantabile 00:07:32
13. III. Allegro 00:06:56
Total Playing Time: 01:09:04
Performers:
Sejong Soloists ([1]–[4])
Chen Xi, violin ([2], [5]–[10])
Ole Akahoshi, cello ([3], [11]–[13])
Frank Huang, violin ([5]–[13])
Wayne Lin, violin ([11]–[13])
Beth Guterman, viola ([11]–[13])
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