享乐音乐论坛 - 为最强音质无损音乐而生！音乐发烧友们的美好家园。
您需要 登录 才可以下载或查看，没有帐号？立即注册
x
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。
无损音乐下载类型：古典音乐打包下载，无损古典音乐专辑免费下载。
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 - ECM 记忆女神(2CDs)
Jan Garbarek & The Hilliard Ensemble - Mnemosyne (1999) [2CD's] {ECM 1700/1}
Musicians: Jan Garbarek - tenor and soprano saxophones
The Hilliard Ensemble: David James - countertenor
Rogers Covey-Crump - tenor
John Potter - tenor
Gordon Jones - baritone
Produced by Manfred Eicher
Genre: Classical, Folk, World, Jazz
date: 12.04.1999
It's been six years since these same performers got together to create one of the decade's more unusual experiments in musical alchemy. Beginning with the raw materials of early music and modern jazz, the four male voices of the Hilliard Ensemble joined with jazz saxophonist Jan Garbarek to see what would happen when the proper measure of old music and new style were combined, shaped by the performers' considerable experience and collective aesthetic vision.
Mnemosyne: <希神>摩涅莫辛涅/谟涅摩叙涅（记忆女神）
谟涅摩叙涅最初只是对记忆的拟人化，后来在希腊神话中发展为掌管记忆的神，是六个女提坦神之一（提坦神是大地女神该亚与天神乌拉诺斯所生）。根据赫西俄德的记载，她是天空之神乌拉诺斯和大地女神盖亚的女儿，也是宙斯的众多情人之一。她为宙斯生九缪斯女神（文艺女神）。 这样，宙斯便成为灵感、学术和艺术之源。
Five years after the recording of 'Officium', the Hilliard Ensemble and Jan Garbarek returned to the monastery of St Gerold to renew, in the words of singer John Potter, their 'encounter with the unknown.' The resultant, very beautiful, double-album, 'Mnemosyne', is wider in scope than its predecessor, and the improvised component of the music is expanded. Repertoire now spans 22 centuries, from the 'Delphic Paean' of Athenaeus to the 'Estonian Lullaby' of Veljo Tormis, via folk song fragments from North and South America and Spain, freely developed, as well as pieces by Tallis, Dufay, Brumel, Hildegard von Bingen, Jan Garbarek, a Russian psalm, a Scottish ballad of the 16th century, and much more. 'We did it for each other in the absence of an audience, and these are complete one-off performances which will never sound the same again.'
Background
"A lot of my work involves performers from different cultures, and I consider this collaboration with the Hilliard Ensemble comes from a different culture. If not geographically, then certainly in the sense of time. In our best moments I think that we managed to give something new, something unheard of before. Something came into existence that was not there before."
Jan Garbarek
For the Hilliard Ensemble and Jan Garbarek, the impulse to return to the monastery of St. Gerold in the Austrian mountains was motivated by the wish to renew the "encounter with the unknown" that was Officium and to recapture the spirit of adventure that fueled that first cross-referencing of vocal music, initially of the 12th to 16th centuries, with contemporary improvised saxophone. The protagonists could not know where that time-defying experiment, inspired by the Officium Defunctorum of Morales would lead, and did not suspect that it would strike such a resonant chord with the public at large. And although the project had seemed, at least on paper, predestined to outrage the proprieties of two sets of purists - the custodians of early music "authenticity" and defenders of the jazz tradition - the recording was almost unanimously hailed by the press as an artistic triumph. "Sobering and soaring," the Herald Tribune called it. "Ice-warm, as it were. And the texture is so enveloping that you don't want to listen to anything less pure than Bach or Billie Holiday afterward." "At its most magical," said the New York Observer, "Garbarek's soprano sax insinuates itself almost imperceptibly into the top line of countertenor, David James, collapsing all barriers between 'jazz' and 'classical', the sacred and the profane, antiquity and now." The Guardian: "Garbarek's purity of intonation, and the sensitivity with which he spikes it with atonality have rarely been better captured on disc and, far from being a deliberate excercise in musical exotica, this often sounds like the setting that was just waiting to find him." There was, and remains, something very right about this combination, the depth and clarity of medieval polyphony in particular providing a context that rules out a mannered response from the freely moving "fifth voice" that is Garbarek's saxophone. The Norwegian player's improvising with the Hilliard singers is amongst his most essential and concentrated work: every tone is made to count.
Over the last five years, Garbarek and the Hilliard Ensemble have given hundreds of concerts together in the concert halls and, especially, churches of the world, and the music has changed with the repertoire. Many new pieces have beeen added and the freedoms that Garbarek habitually takes with the music have emboldened the Hilliard singers also to take more chances, both in selection of material and its treatment. Where Officium worked loosely on early music principles, Mnemosyne, the new double album, is wider in scope, and the improvised component of the music is expanded. Repertoire now spans twenty-two centuries, from the "Delphic Paean" of Athenaeus to the "Estonian Lullalby" of Veljo Tormis, via folk songs fragments from North and South America (the Peruvian "Quechua song") and Spain, freely developed, as well as pieces by Tallis, Dufay, Brumel, Hildegard von Bingen, Jan Garbarek, a Russian psalm, a Scottish ballad of the 16th century, and much more ...
At first sight, the title of this new recording appears to refer to something in the distant past. Mnemosyne is the Ancient Greek word for "memory". It is also the title of a poem by Friedrich H?lderlin, the first strophe of which is printed in the booklet that accompanies the CD. H?lderlin's words, which evoke transience and permanence equally, and images from Ingmar Bergman's film "The Seventh Seal" elicit dark reflections of an apocalyptic end-time. But when the singers' first chord appears, seeming to arise out of nowhere, and when the saxophone's tones begin to coil about it, the sounds unfold and the instrumental responses begin to intensify, a wide panorama, an entire world of associations opens up. It seems as if, in creating the music now entitled Mnemosyne, the players were exploring an inexhaustible, collective cultural memory to discover something new. John Potter, from the liner notes: "A lot of the newer repertoire on Mnemosyne consists of very small amounts of material with minimal notation. These are rarely complete pieces and often just a few scraps, recovered from old book bindings or buried for centuries under desert sands. We may decide on an outline form and share out the material, then we all improvise and none of us knows what will happen next. It was another magical experience for us, five musicians plus the mercurial creative impulse of Manfred Eicher ...We did it for each other, in the absence of an audience, and these are complete, one-off performances, which will never sound the same again."
Tracklist:
Disc 1:
01. Quechua Song 7:12
02. O Lord In Thee Is All My Trust 5:09
03. Estonian Lullaby 1:58
04. Remember Me My Dear 6:30
05. Gloria 6:03
06. Fayrfax Africanus 4:05
07. Agnus Dei 8:38
08. Novus Novus 2:18
09. Se Je Fays Dueil 5:12
10. O Ignis Spiritus 10:53
Disc 2:
01. Alleluia Nativitatis 5:06
02. Delphic Paean 4:46
03. Strophe And Counter-Strophe 5:02
04. Mascarados 5:02
05. Loiterando 5:33
06. Estonian Lullaby 2:01
07. Russian Psalm 3:45
08. Eagle Dance 4:48
09. When Jesus Wept 3:22
10. Hymn To The Sun 7:28
TT: 1:45:02
亲爱的无损音乐发烧友，如果您要查看本帖隐藏内容请 回复1、世间所有的相遇，都是久别重逢， 享乐音乐网愿与您一起享受音乐，分享快乐！
2、享乐音乐网是免费公益性非盈利网站，旨在方便用户查找学习资料，交流听歌心得。
3、本主题所有内容均为互联网公开信息，由网友收集整理发布分享，仅限交流测试使用。
4、享乐音乐仅对作品介绍展示，不直接提供下载服务，其它相关方面信息需要您自行判断。
5、版权归唱片公司和歌手所有，如侵犯您的权益，请发送邮件通知我们，我们将及时删除。
6、如果你喜欢主题所述内容，请你通过正规渠道购买正版，交流测试资源不可用于商业用途。
专门提供古典音乐无损音乐格式下载，古典无损音乐合集资源打包下载，古典音乐打包下载的免费网站。
古典音乐打包免费下载网站，内容由网友分享仅供学习交流之用，版权归唱片公司所有，不可用于商业盈利用途，否则一切后果自行承担! |
微信公众号 xlebbs
