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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。
4无损音乐格式古典音乐冷门 - ECM钟声之谷(拉威尔,武满彻,梅西安钢琴)
La Vallée des Cloches: Momo Kodama
The Valley of the Bells 钟声之谷
Composers: Maurice Ravel (1875-1937) 莫里斯·拉威尔,
Toru Takemitsu (1930-1996) 武满彻,
Olivier Messiaen (1908-1992) 奥利维埃·梅西安
Artist: Momo Kodama (b.1972) (piano) 桃小玉 (http://www.momokodama.com/)
date: 25.10.2013
Barcode: 0028948104260
Length: 65 minutes 23
Recording Date: September 22-25, 2012
Recording Location: Neumarkt, Germany
Medium: CD
桃小玉(Momo Kodama)，日本钢琴家，台湾呼其为：儿玉桃。
收录了拉威尔的《镜子：5个篇章》、武满彻的《雨树素描》以及梅西安的《园中之莺》。坦率说，出版者是有心机的，因为三个作曲家，均是20世纪里名气极大的。
Momo Kodama对于我来讲，实在陌生。因为我没有听过她的任何作品，打开唱片，看到关于她的2张肖像，很优雅，一下子感觉她是不是日本的钢琴家？果不其然，台湾呼其为：儿玉桃。《La vallée des cloches》是她在ECM的第一张作品。我并不对日本的钢琴家有太多的关注，事实上，真正具有世界级的日本钢琴家也没有。亚洲最牛莫过傅聪与郎朗吧？但我对郎朗的钢琴兴趣似乎并不大。但凭第一耳的直觉，发现Momo Kodama的弹奏很有力，当然，也夹杂着柔美。这令我感兴趣，要明白，这三首作品，也不是每个被称为是“钢琴家”的人都能弹好的！比如梅西安的《园中之莺》，30多分钟，且夹杂爵士钢琴的色彩，技巧高超是一部分，关键是你的弹奏能否动听到打动人的内心——大作曲家，兼钢琴出身的鸟类研究学者的梅西安，这首音乐别看小，实际上不好搞。Momo Kodama的演奏，一气呵成，当然，也有细微瑕疵，我看无关紧要。一曲下来，悦耳爽心。而演奏武满彻的《雨树素描》，短短4分钟，东方人的禅的意境，清澈冷静地传递出来，令你不能不再次按重复键。我按到6次才止。我突然想到Helene Grimaud弹奏的John Corigliano的《Fantasia on an ostinato For Solo Piano》——如果换做Momo Kodama来弹奏，是不是更好听？或者，Momo Kodam在下一个出版计划里也收入这个曲子。我很有兴趣来听。拉威尔的《镜子：5个篇章》，节节好听，尤其最有名的《Alborada del gracioso》，悲伤中并不透出失望的情感。Momo Kodama很低调，但很有感染力。她的弹奏是给你距离感，又想尽办法诱惑你。Momo Kodama用的是一架什么钢琴呢？其音色冷澈而华丽，是日本制造的雅马哈吗？我确认这不是贝森朵夫的钢琴，但不管是雅马哈还是斯坦威，真是好听。即使你用低级的播放器材去播，也能轻易感知到这个钢琴音色的弹性、柔美、华丽与冷澈——ECM的这个钢琴录音好到无法挑剔。
其实ECM的很多唱片，都有点小前卫或者冒进的前卫，但这需要你静下心来听，而非抱着成见的心态来评判。
Background
Momo Kodma’s first ECM New Series album is a marvel, a mesmerizing journey from the shimmering surfaces of Miroirs, Maurice Ravel’s piano cycle of 1904-45 to Olivier Messiaen’s Fauvette des jardins (written in 1970), a late masterpiece of piano music from the visionary composer. Kodama’s insights into Messiaen’s sound-world enable her to convey his religious feeling for nature, for birdsong transfigured, through the compelling, insistent piano figures, into spiritual utterance. Linking Ravel’s valley of the bells and Messiaen’s open sound field is Toru Takemitsu’s Rain Tree Sketch (1982), music from the East informed by Western experiment, a Japanese reflection on French music. “Its opening bars” writes Hans-Klaus Jungheinrich in the liner notes, “evoke not only the rapturous crystalline chord progressions of Messiaen, but also the flashing, glittering sophistication of Ravel.”
Kodama has a personal perspective on dialogues of Orient and Occident. Born in Osaka, she spent her early childhood in Germany, moving to France at 13 to become the youngest student ever accepted at the Conservatoire national supérieur de musique in Paris. Later there were studies with great pianists including Murray Perahia, András Schiff, Vera Gornostaeva and Tatiana Nikola?eva. At 19 Momo Kodama was the Munich International Competition’s youngest prize winner.
She has gone on to play with leading orchestra of Japan, Europe and the US and worked with conductors including Seiji Ozawa, Kent Nagano, Roger Norrington, Charles Dutoit, Eliahu Inbal, Valery Gergiev and Lawrence Foster. Her chamber music partners include Steven Isserlis, Rohan de Saram, Renaud Capucon, Augustin Dumay and J?rg Widmann. Momo and sister Mari Kodama, meanwhile, form a piano duo that plays the core repertoire and premieres new works.
Momo Kodama’s recital repertoire reaches from Bach to the avant-garde. A major part of her performance schedule is dedicated to contemporary music, and Messiaen has been a special focus. In 2002, on the 10th anniversary of Messiaen's death, she performed his Turangal?la Symphony, Les Visions de l'Amen with her sister Mari, and Les vingt regards sur l'enfant- Jésus in a series of highly successful concerts. In the Messiaen centenary year 2008 she received awards in Japan for a concert series dedicated to the composer. At the Festival La Roque d'Antheréon 2006, at the urging of Yvonne Loriod-Messiaen, she premiered, with Isabelle Faust, Messiaen's Fantasie for violin and piano, a piece written in 1933 but never previously performed. Her recordings of the Vingt regards sur l’enfant-Jésus and the Catalogue d’Oiseaux for Triton, received high critical acclaim. In 2008 she commissioned Toshio Hosokawa’s Stunden Blumen, a work with the same instrumentation as Messiaen’s Quatuor pour la fin du temps, and performed both pieces at festivals in Lucerne, Paris, Hamburg and Vienna.
A number of composers have written works for Kodama. She is also the dedicatee of works including Lichtstudie 3 by J?rg Widmann, which she premiered at the Lucerne Festival, and Echo by Ichiro Nodaira, which was composed for Momo and Mari Kodama.
La vallée des cloches was recorded at Reitstadel, Neumarkt in September 2012, and produced by Manfred Eicher.
桃小玉(Momo Kodama)：
Born in Osaka, Momo Kodama spent her early years in Europe; educated at a German school, she attended the Conservatoire National Supérieur de Musique de Paris before studying with great masters such as Murray Perahia, Andras Schiff, Vera Gornostaeva and Tatiana Nikola?eva. In 1991, she became the youngest winner of the Concours International ARD in Munich.
Momo Kodama has been invited to perform with world renowned orchestras including the Berlin Philharmonic, Boston Symphony Orchestra, Bayerisches Staatsorchester, Tokyo Symphony Orchestra, NHK Symphony Orchestra, NDR Hamburg, Orchestre de Chambre de Paris, Orchestra Philharmonique de Monte-Carlo and the Royal Liverpool Philharmonic Orchestra, under the baton of Seiji Ozawa, Eliahu Inbal, Charles Dutoit, Jun M?rkl, Lawrence Foster, Kent Nagano, André Prévin and Sir Roger Norrington.
Momo Kodama has appeared at prestigious festivals including Marlboro, USA; Verbier, Switzerland; La Roque d’Anthéron, Festival Chopin, Festival d’Automne, France; Festival Enesco, Romania; Festival Tivoli, Denmark; Settembre Musica and Palazetto Bru-Zane, Italy, and Schleswig-Holstein, Germany.
Her repertoire extends from the Classical and Romantic periods to contemporary works, in particular, composers such as Toru Takemitsu, Ichiro Noda?ra, Toshio Hosokawa and J?rg Widmann. In concert, Momo Kodama is a distinguished interpreter of Olivier Messiaen (Turangal?la-Symphonie, Vingt Regards, Catalogue d’Oiseaux) and, at the request of Yvonne Loriod, premiered his Fantaisie for Violin and Piano, with Isabelle Faust at the Festival de la Roque d’Anthéron in 2006. During the 2013/2014 season, she gave the world premiere of a new cycle of Etudes by Toshio Hosokawa at the Lucerne Festival to great acclaim, ‘[the] Japanese pianist captivated at Lucerne Hall’, and followed this with performances at London’s Wigmore Hall and Tokyo Opera City. In 15/16, Momo will make her debut at the Vienna Musikverein with the Tonkünstler-Orchester Nieder?sterreich under the baton of Jun M?rkl, and give two concerts in Paris: Mozart’s Piano Concerto no. 23 with the Orchestre Philharmonique de Radio-France with Roger Norrington and Chopin’s Piano Concerto no. 2 at Théatre des Champs-Elysées with the Orchestre de Chambre de Paris with Lawrence Foster who will accompany her in Martinu’s double piano concerto with her sister Mari in Marseille.
A keen chamber musician, she regularly collaborates with violinists Christian Tetzlaff, Renaud Capu?on, Augustin Dumay; cellists Gauthier Capu?on, Steven Isserlis, Alban Gerhardt and Christian-Pierre La Marca; her sister, pianist Mari Kodama; the clarinettist J?rg Widmann and his sister, Carolin Widmann, with whom she will perform Messiaen’s Quatuor pour la fin du Temps at the Konzerthaus in Berlin in February 2016.
Tracks:
Maurice Ravel (1875-1937): Miroirs, M.43 拉威尔《镜子：5个篇章》
1. Noctuelles (5:13)
2. Oiseaux tristes (3:56)
3. Une barque sur l'océan (7:31)
4. Alborada del gracioso (6:59)
5. La vallée des cloches (5:19)
6. Toru Takemitsu (1930-1996): Rain Tree Sketch (4:00) 武满彻《雨树素描》
7. Olivier Messiaen (1908-1992): La fauvette des jardins (32:25) 梅西安《园中之莺》
TT: 65'23
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