[无损音乐格式] ECM 卡斯卡西安 中提琴 曼苏里扬 b.1939 中,小提琴协奏曲等 2CD 古典音乐打包下载

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5无损音乐格式古典音乐冷门 -  ECM卡斯卡西安(中提琴) 曼苏里扬(b.1939) 中,小提琴协奏曲等(2CD)

Tigran Mansurian: Monodia
Kim Kashkashian, Leonidas Kavakos, Jan Garbarek, The Hilliard Ensemble, Münchener Kammerorchester, Christoph Poppen

Composers: Tigran Mansurian (b.1939) 季格兰·曼苏里扬 / 曼修灵
Artists: Kim Kashkashian (b.1952), viola 金·卡丝卡茜安 / 卡斯卡西安 / 卡什卡什扬, 中提琴
             Leonidas Kavakos (b.1967), violin 莱昂尼达斯·卡瓦科斯, 小提琴
             Jan Garbarek (b.1947) 杨·葛柏瑞克 / 扬·加巴雷克/ 詹·加布雷克, 后波普爵士音乐家和新世纪音乐家, 萨克斯和长笛演奏家
             The Hilliard Ensemble,
             Münchener Kammerorchester,
             Christoph Poppen, conductor
Genre: Classical, contemporary
date: 02.02.2004


Kim Kashkashian’s advocacy of the music of Tigran Mansurian led to last year’s critically-acclaimed “Hayren” album. Now comes a fuller portrait of Armenia’s foremost composer. This double album, made with Mansurian’s participation, includes premiere recordings of works of the last decade, in which Kashkashian is variously joined by Christoph Poppen and the Munich Chamber Orchestra, Jan Garbarek, and the Hilliard Ensemble, while Leonidas Kavakos is the soloist in the 1981 Concert for Violin and Orchestra. An extraordinary cast, doing justice to extraordinary music. “Monodia” is certain to be a much-discussed recording.


Background

“All of my works are autobiographical, I have no choice” – Tigran Mansurian

ECM has documented many exceptional composers who emerged from the perimeter of the former Soviet Union: some who had found their voices despite the often severe limits placed on creative expression by Moscow, others who sought artistic freedom in exile. For Tigran Mansurian, leaving has never been an option. His life’s work is so intricately bound up with the culture, history and suffering of Armenia.

For some years now, violist Kim Kashkashian, herself of Armenian descent, has been one of Mansurian’s most dedicated champions, and “Monodia”, a two-disc set, is another of her initiatives. Here, she and producer Manfred Eicher bring together an exceptional cast to play Mansurian’s music in a two-CD set that amounts to a “composer portrait”. The four featured compositions are, as Mansurian puts it, messages-in-bottles from his beleaguered country. Included here are the viola concerto titled “And then I was in time again…”, written in 1995 and, like the piece for viola and voices “Confessing with Faith” (1998), dedicated to Kim Kashkashian. “Lachrymae”, written in 1999, is dedicated to its performers Kashkashian and Jan Garbarek. These three pieces are premiere recordings. Greek violinist Leonidas Kavakos reinterprets the only older work on the set, 1981’s Concerto for Violin and Orchestra, an important piece in Mansurian’s musical development.

These recordings show the unique manner in which Mansurian’s music addresses both the development of contemporary music and the soundscapes of his troubled homeland, including its sacred and secular music traditions. As one critic wrote, “the involvement on the one side with 20th century classics, on the other hand with the music of his Armenian homeland distinguished Mansurian’s own idiom, his rigour, his seriousness, the sensitivity of his sound, and the precision of his formulations.”

Mansurian’s friends and contemporaries have included Arvo P?rt, Valentin Silvestrov, Sofia Gubaidulina, Giya Kancheli and the late Alfred Schnittke. If his music remains less well-known, this has been connected to his geographical isolation and his determination to remain in Armenia – despite the wars, earthquakes, power failures, massive unemployment, population exodus, and other catastrophes that have continued to plague the country.

“Monodia” follows the scene-setting album “Hayren”, issued last year, on which Mansurian appeared also as a performer, alongside American-Armenian violist Kim Kashkashian and American percussionist Robyn Schulkowsky, interpreting music of the great Armenian ethnomusicologist, folk song collector and composer Komitas. Tigran Mansurian: “The very first time I heard Kim Kashkashian play, I felt that the energy of her sound and the inner vitality of her phrasing originated from a characteristically Armenian source. From a place where economy of means is cultivated and ‘ploughing deep’ is the guiding principle.” Kashkashian and Mansurian have collaborated for more than a decade now. Ideas for the present recording began to take shape in 1999, when ECM helped to set up an “Armenian Night” (with the Mansurian/Kashkashian association at its centre) at the Bergen Festival. Jan Garbarek joined the proceedings there and members of the Yerevan Chamber Choir premiered “Confessing With Faith”, a work reprised on the present album with the Hilliard Ensemble.

Release of “Monodia” happens to coincide with the 30th anniversary of the founding of the Hilliard Ensemble. Their account of “Confessing with Faith” marks the first time that Britain’s foremost vocal ensemble has sung in Armenian. The texts are by the 12th century mystic and Supreme Head of the Armenian Church, St Nerses Shnorhali. Shnorhali, revered as a distinguished spiritual leader achieved that feat which seems today all but an impossibility: he established harmonious relations among all the religious communities in the area.

“And then I was in time again” takes its title from William Faulkner’s “The Sound and the Fury”. As Hanspeter Krellmann notes in the CD booklet: “Faulkner uses an ingenious technique of superposition to conjure up not only a stream of consciousness but its reflection in reality and the imagination. Mansurian’s music transfers these same phenomena to an adjacent artistic level, redefining and transmuting them into acoustical images… The string writing ranges from unison passages and conglomerations of figures to individual forays by each of the eighteen instruments. The result is a wealth of sound-images that split apart and hover in space while remaining constantly interwoven within the temporal continuum. These sound-images give rise in turn to sonic moods. The free flux of the orchestral sound releases a wide range of dramatic gestures, especially in the first section of the concerto. But the accompanying instrumental ensemble maintains its status throughout as a seismograph of the progress of time.” Kim Kashkashian first performed Mansurian’s Viola Concerto”with the Münchener Kammerorchester under Christoph Poppen in 1997.

Greek violinist Leonidas Kavakos, whose recent ECM debut, playing Enescu and Ravel, was widely praised, brings his impetuous energies to the Violin Concerto which comes from an earlier period in Mansurian’s evolution.“It joins forces with the Second Cello Concerto and the Double Concerto for Violin and Cello (both composed in 1978) to form a substantive whole. In all three of these concertos (as in the later Viola Concerto) the orchestra consists entirely of strings, an instrumental limitation that vouchsafes a deliberate unity of timbre and sonority. The single-movement Violin Concerto assumes a special place in this triptych. Here, too, the solo instrument is given a wealth of solo passages. The violin dominates the musical stage like a brilliant soloist reveling in his own virtuosity. When heard without accompaniment, its expansive and virtuosic gestures are far closer to cadenzas than those of the Viola Concerto. Yet they too are precisely set down in notation…” The dialogues between soloist and answering strings are vividly directed by Christoph Poppen.

The plaintive mountaintop cry of Norwegian saxophonist Jan Garbarek has inspired musicians as different as Miroslav Vitous and Giya Kancheli to new compositions. Garbarek’s yearning sound is well suited to Mansurian’s “Lachrymae” and well-matched with Kashkashian’s viola; both musicians convey a very ‘vocal’ quality in their phrasing and intonation. “Lachrymae”, Krellmann explains in the CD notes, “is divided between the two instruments in such a way that they share each other’s pitches, often playing in unison, only to emerge thereafter in a contrapuntal duet. The resultant impression is one of strict linearity, as in a Bach Two-Part Invention, while the saxophone and viola preserve the idiomatic flavor of their respective instrument in a freely expanding flow of melody. The listener hears two sound-sources of complementary rather than contrasting timbre. Their vibrations relate so strictly to each other that the lamentation seems to issue from a single source, imparting a fulfilled simplicity to Mansurian’s music.” (This closeness of sound, between soprano saxophone and viola, was to lead to further collaborations between Jan Garbarek and Kim Kashkashian…)


Press reactions:

Grammy Nomination 2005
Stereoplay, Klangtipp

Tigran Mansurian connects through his work to cultural and emotional groundsprings that are important to him, particularly hints of indigenous Armenian music. He also takes note of his current musical environment, and this sense of inner and outer elements combining informs both the music on these discs and the way it is played – especially by fellow-Armenian Kim Kashkashian. … The Viola Concerto is both moving and mercurial, sometimes grounded in faith or earth, at other times clouded and troubled, even close to defiance… The economically scored Violin Concerto is again rich in unaccompanied material and Leonidas Kavakos seems to relish every note, especially in the many higher-reaching passages. … “Lachrymae” for soprano saxophone and viola finds Kashkashian and Garbarek intertwined in an embrace of pitches and textures, each adapting to, or mirroring, the other’s soundworld. “Confessing Faith” for viola and voices sets prayers by the 12th-century Armenian poet and musician St Nerses Shnorhali, its bold incantations scaling peaks of expressive intensity, especially whenever the countertenor David James enters. The viola’s warm and occasionally abrasive contribution acts as a sort of humanising presence. Monodia set me thinking along various fronts. Firstly, about the strength and innate soulfulness of Kashkashian’s musicianship, so profoundly suited to the viola. Then the creative excitement of combining unlikely instrumental timbres, and the question of music bridging different faiths, or at the very least different branches of the same faith. … Balancing and sound quality are immaculate.
------Rob Cowan, Gramophone


Tigran Mansurian's music is rooted in Armenian folk and church music filtered through contemporary Europeans, especially Bartók. In many respects he resembles other post-Soviet composers like Schnittke and Svirdov, sharing their combination of elusiveness and accessibility. Kim Kashkashian has long championed his works, and the outstanding violist is superb here. She's the center of gravity in the Viola Concerto, titled "...and then I was in time again," a quote from Faulkner and resembling his stream-of-consciousness style. The complex interplay of soloist and 18 strings fascinates, the two going their own ways and coming together again in unpredictable fashion but always to expressive effect. It's in two movements, the first more dramatic, the second poignant. In Lachrymae, Kashkashian is joined by Garbarek's soprano sax, the pair weaving their lines together, often blurring the distinction between their instruments. In the final piece, Confessing with Faith, the solo viola sings its expressive commentary to seven medieval prayers intensely sung with tonal purity by The Hilliard Ensemble. Leonidas Kavakos is the excellent soloist in the Violin Concerto, an earlier work in one long movement whose blend of drama and prayerful sadness are riveting--and rivetingly played. An important set of powerful, melodic music brilliantly performed, with ECM's usual first-rate sonic and production values. ------Dan Davis


ECM’s release last year of Hayren, a disc of extraordinary music by Tigran Mansurian, left me feeling impatient for the promised sequel. This is it – and it’s every bit as impressive as its predecessor. The hallmarks of Mansurian’s idiom are immediately recognizable: a contemporary European style fused to the ancient musical traditions of his native Armenia; a laconic but deeply expressive lyricism imbued with the pain of a terrible history yet sustained by a commitment to place, community and shared spiritual conviction; a complete absence of showiness or desire to ingratiate; and a mood of high seriousness leavened by an ability to be clear, direct and original. …
This two disc set presents four works, three in première recording. “And then I was in time again” – the title is from Faulkner -  is actually the Concerto for viola and strings … The piece belongs overwhelmingly to the solo viola, whose vividly figured subjectivity constitutes its principal interest: and thus the piece belongs to Kashkashian, its dedicatee, whose articulate, perfectly weighted, sumptuous playing is deeply affecting. ...
The only work here to have been previously recorded is the 1981 Concerto for violin and strings; it’s therefore also the only one without the garland of Kashkashian’s magnificent viola playing. … Greek violinist Leonidas Kavakos is simply electrifying, delivering the searingly expressive soloistic part with warm-toned brilliance. The piece comes to life as a solemn disquisition, movingly and dramatically interrupted on several occasions by a simple, disarmingly innocent runic tune utterly at odds with the work’s modernist disposition. …
Accompanied by a 54-page booklet that includes song texts, translations, interviews and photos, this is altogether a richly rewarding release.
------Christopher Ballantine, International  Record Review


The Viola Concerto, the plangent threnody of Lachrymae for viola and soprano sax [Jan Garbarek] and the gravely luminous spiritual contemplation of Confessing With Faith [sung by the Hilliard Ensemble] enlarge the picture of a deeply serious, even mystical artist engaged in closer engagement with his national culture. The soloists are all top-rank artists who have long been exploring the post-Soviet ambience for ECM; performances are eloquent and sensitive without the faintest sense of emotional overkill, and the recording is really first-rate.
------Calum MacDonald, BBC Music Magazine


Monodia … features three recent pieces dedicated to Kashkashian, a violist of Armenian descent. Kashkashian’s throaty, burnished tone cuts straight to the heart of “…and Then I Was in Time Again”, a concerto that vividly depicts a sense of the isolation and timelessness Mansurian found in Faulkner’s “The Sound and the Fury”. In “Lachrymae” , Kashkashian joins saxophonist Jan Garbarek in an affecting tangle of lamenting lines; Garbarek’s keening microtonal slurs recall the sound of the duduk, an Armenian wind instrument. Kashkashian’s viola functions as a fifth member of a cappella consort the Hilliard Ensemble in the haunting, penitent “Confessing with Faith”. Completing the set, Leonidas Kavakos offers a gripping account of the composer’s luminous Violin Concerto…
Here and throughout Monodia Mansurian conjures a spare, absorbing beauty that richly repays pondering.
------Steve Smith, Time Out New York


作曲家介绍：

曼苏里扬/又译曼修灵(Tigran Yeghiayi Mansurian, born 27 January 1939)是出生在黎巴嫩贝鲁特的亚美尼亚当代古典音乐、电影音乐作曲家，他在亚美尼亚完成学业并取得成功，曾在上世纪的60年代得过两次全苏作曲比赛第一名。曼苏里扬写下大量作品，并十分偏爱弦乐--尤其是中提琴乐器。因为他觉得，中提琴是世界上最为优美的歌唱性乐器。

曼苏里扬既没有哈恰图良的热情也没有阿鲁秋年的清新，更没有特特扬的沉默和爆发。他既不采用民族乐器也不直接引用民歌，但却深谙亚美尼亚音乐的奥妙，大致从第一、二弦乐四重奏开始，形成了自己简洁而又深情隽永的音乐风格。这种风格最鲜明地体现在曼苏里扬对中提琴的偏爱上。

中提琴的音色既柔和又略带大提琴的“沙哑”。继大提琴之后，大批杰出的苏联音乐家也把中提琴从乐队的角落里移到最前面，提升为独奏乐器。魏因贝格、柴科夫斯基等作曲家先后为德鲁日宁、巴什米特等演奏家创作了一批中提琴作品，但最佳搭档还要数90年代曼苏里扬与亚美尼亚女中提琴家卡什卡什扬(Kashkashian)的合作。1995年，两位亚美尼亚音乐家进行了一次绝妙的合作——曼苏里扬为卡什卡什扬创作了中提琴协奏曲《“……而后我又回到时间里来了”》。

卡什卡什扬1952年生于美国底特律，家人是来自西亚美尼亚（现属土耳其）的移民，虽然她在美国长大，但从小就受家人唱的亚美尼亚民歌的熏陶——都在柯米塔斯收集的歌曲集里，不过在音色上与她日后在亚美尼亚亲身听到的并不相同——此后在美国成长为世界一流的中提琴家。如曼苏里扬所说：“当我觉得需要离开真实的亚美尼亚时，我转向另一个亚美尼亚，生活在柯米塔斯的音乐中的那个。”金·卡什卡什扬是美国亚美尼亚裔中提琴家，她演出了很多首曼苏里扬的新作品。作为世界上最着名的中提琴之一，金·卡斯卡西安近年来演奏推广大量的现代作品，并因此获得格莱美奖。


Track list:

CD 1:

Tigran Mansurian - '...and then I was in time again' Concerto for viola and orchestra (1995) (dedicated to Kim Kashkashian)
曼苏里扬 - 中提琴协奏曲“……而后我又回到时间里来了” (献给金·卡斯卡西安)
1. I. Allegro, quasi recitando      12:52
2. II. Lento, cantando      08:20

3. Tigran Mansurian - Concerto for violin and orchestra (1981) (for Oleg Kagan)      25:35
    曼苏里扬 - 小提琴协奏曲 (为奥列格·卡岗而作)


CD 2:

1. Tigran Mansurian - Lachrymae (1999) (for soprano saxophone and viola) (for Kim kashkashian and Jan Garbarek)      07:10
    曼苏里扬 - 中提琴与高音萨克斯二重奏“眼泪” (为金·卡斯卡西安，扬·加巴雷克而作)

Tigran Mansurian - Confessing with Faith (1998) (for viola and four voices) (for Kim Kashkashian)
曼苏里扬 - 信仰告白 (为金·卡斯卡西安而作)
2. I. Moderato      14:05
3. II. Andante      07:18
4. III. Lento sostenuto, semplice      05:20

TT: 81'03

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很好很强大！古典音乐收下了！感谢。

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在真正的音乐中，充满了一千种心灵的感受，比言词更好得多。

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习惯一个人的音乐，一个人的音乐是心灵最深处地呻吟。

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我只想说很好听！谢谢楼主的分享

下来听下，很久没听这样的歌啦