[无损音乐格式] ECM 卡斯卡西安 中提琴 武满彻,德彪西,古拜杜丽娜 三重奏 古典音乐打包下载

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。

4无损音乐格式古典音乐冷门 -  ECM 卡斯卡西安(中提琴) 武满彻,德彪西,古拜杜丽娜 三重奏

Kim.Kashkashian.-.[Takemitsu,Debussy,Gubaidulina.-.Tre.Voci.(ECM)].武满彻,德彪西,古拜杜丽娜 三重奏

Tre Voci - Kim Kashkashian, Sivan Magen, Marina Piccinini
(中提琴,竖琴,长笛)三重奏

Composers: Toru Takemitsu (1930-1996) 武满彻,
                    Claude Debussy (1862-1918) 克劳德·德彪西,
                    Sofia Gubaidulina (b.1931) 索菲亚·古拜杜丽娜 / 古柏杜丽娜
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
            Sivan Magen (b.1980), harp 斯万·马艮, 竖琴 (http://www.sivanmagen.com/)
            Marina Piccinini, flute 玛丽娜·皮奇尼尼, 长笛 (http://www.marinapiccinini.com/)
Genre: Classical
date: 12.09.2014


Kim Kashkashian, who won a Grammy last year with her solo viola Kurtág/Ligeti disc, returns with a new trio. Tre Voci includes Italian-American flutist Marina Piccinini and Israeli harpist Sivan Magen. All three musicians have been acknowledged for bringing a new voice to their instruments. Kashkashian, Piccinini and Magen first played together at the 2010 Marlboro Music Festival, and agreed that the potential of this combination was too great to limit it to a single season. Since then they have been developing their repertoire. On this compelling first release it revolves around Debussy’s 1915 Sonata for flute, viola and harp and its influence, most directly felt in Takemitsu’s shimmering “And then I knew ‘twas wind”. Debussy himself had been profoundly moved by his encounter with music of the East and in his last works was emphasizing tone-colour, texture and timbre and a different kind of temporal flow. In this music, the elasticity of Debussy’s feeling for time (as Heinz Holliger observed) pointed far into the future and to the works of Boulez. And indeed to the music of Sofia Gubaidulina, whose “Garden of Joys and Sorrows” makes its own reckoning with orient and occident. Gubaidulina has said that she considers herself 'a daughter of two worlds, whose soul lives in the music of the East and the West'. Produced by Manfred Eicher in the Lugano Studio, Tre Voci’s album is released in time for a European tour with a programme including music of Debussy, Takemitsu and Gubaidulina.


Background

Kim Kashkashian, who won a Grammy last year with her solo viola Kurtág/Ligeti disc, returns with a new trio. Tre Voci includes Italian-American flutist Marina Piccinini and Israeli harpist Sivan Magen. All three musicians have been acknowledged for bringing a new voice to their instruments. Kashkashian, Piccinini and Magen first played together at the 2010 Marlboro Music Festival, and agreed that the potential of this combination was too great to limit it to a single season. Since then they have been developing their repertoire. On this compelling first release it revolves around Debussy’s 1915 “Sonata for flute, viola and harp” and its influence, most directly felt in Takemitsu’s shimmering “And then I knew ’twas wind”.

Debussy himself had been profoundly moved by his encounter with music of the East and in his last works was emphasizing tone-colour, texture and timbre and a different kind of temporal flow. In this music, the elasticity of Debussy’s feeling for time (as Heinz Holliger observed) pointed far into the future and to the works of Boulez. And indeed to the music of Sofia Gubaidulina, whose “Garden of Joys and Sorrows” makes its own reckoning with orient and occident. Gubaidulina has said that she considers herself "a daughter of two worlds, whose soul lives in the music of the East and the West".

As Jürg Stenzl points out in the liner notes, hardly any composer of his generation was more greatly affected by the discovery of Debussy's music than Tōru Takemitsu: “This largely self-taught composer had already studied a broad range of recent 'western' musics before he turned to the 'classical' traditions of his native Japan. The late work ‘And then I knew 'twas Wind’ scored for the same instruments as Debussy's second sonata, is especially characteristic of his understanding of music” and emphasizes what Takemitsu called “the vibrant complexity of sound as it exists in the instrument”. His composition resembles Debussy's in its free and rhapsodic form, but unlike Debussy's 'musique pure', Takemitsu's title relates to a poem by Emily Dickinson:

“Like Rain it sounded till it curved / And then I knew ‘twas Wind – / It walked as wet as any Wave / But swept as dry as sand – / When it had pushed itself away / To some remotest Plain …”

Sofia Gubaidulina’s “Garten von Freuden und Traurigkeiten” (“Garden of Joys and Sorrows”) also draws upon lyric poetry for inspiration. The work concludes with a recitation of a poem by Austrian-born writer Francisco Tanzer, but its title comes from a text by the Moscow poet Iv Oganov. The vivid imagery of Oganov’s poem makes itself forcefully felt in Gubaidulina’s work: “The lotus was set aflame by music / The white garden began to ring again with diamond borders.” The composer, in her words, was compelled to a concrete aural perception of this garden, explored at length in the music. As with Takemitsu the flow of the work retains an improvisational freshness, and the combined sound-colours of viola, harp and flute are as beguiling as in the Debussy sonata.

Tre Voci’s album was recorded in April, 2013 at the Auditorio Radiotelevisione svizzera, Lugano, and produced by Manfred Eicher.  


Press reactions

Stellar collaboration of three musicians at the top of their game […] Their recording of Debussy’s dazzling, inventive sonata is full of sonic pleasures, as are the two new pieces, the pensive, poetic ‘And Then I Knew ’Twas Wind’ by Toru Takemitsu and Sofia Gubaidulina’s Eastern reverie ‘Garten von Freuden und Traurigkeiten’.
------Corinna da Fonseca-Wollheim, The New York Times

Debussy’s 1915 composition Sonata for Flute, Viola and Harp was his penultimate work, an intriguing intimation of possible future developments marked by a free, rhapsodic structure. In this sensitive rendering by a trio led by violist Kim Kashkashian, the music seems to breathe, an organic being searching for its place in an uncertain world.
------Andy Gill, The Independent

Debussy’s late Sonata for flute, viola and harp is one of his most elusive and refined masterpieces, and many composers from subsequent generations have been tempted to explore the same alluring soundworld. Two of the results appear around the Sonata here; both are single movements, on more or less on an equivalent scale. Toru Takemitsu’s And Then I Knew ’Twas Wind (1991; the title comes from a poem by Emily Dickinson) was designed to be performed alongside the Debussy; […] Sofia Gubaidulina’s Garden of Joy and Sorrow, composed in 1980, is built around a short poem too – by the Viennese Francisco Tanzer – which is recited at the end of the work, like a verbal equivalent to the solo cadenzas that articulate the instrumental piece. Together they make an elegant frame for the performance of the great sonata by Marina Piccinini, Kim Kashkashian and Sivan Magen, which is more robust than it can be, though still subtle and sensuous.
------Andrew Clements, Guardian Online

Tre Voci’s exceptional musicianship makes apparent the creative kinship between these three beautiful works. The Debussy Sonata inhabits an enchanted world full of radical textures and figurations in which the musical line is not merely passed among the instruments, but each seems to be in a constant of mutation within the beguiling whole. Tre Voci brave the potentially harsh light of a close recording so that every nuance is captured, and Debussy’s work emerges sounding contemporaneous with the ore recent works.
While both Takemitsu and Gubaidulina persistently use unusual instrumental techniques, Tre Voci ensure these often delicate inflections are a natural, effortless part of the texture and musical line. They are not attention seeking quirks, but a continuation of Debussy’s love of playing with subtle colours.
------Christopher Dingle, BBC Music Magazine

‘Tre Voci,’ is a study in evocative atmosphere, focusing on pieces for the often ethereal combination of flute, viola and harp. The benchmark for that combination is Debussy's Sonata, an autumnal masterwork from 1915 delivered with finely measured doses of eloquence, sensuality and gentle fire by Piccinini, violist Kim Kashkashian and harpist Sivan Magen. That Debussy score inspired Toru Takemitsu's 1992 piece ‘And then I knew 'twas Wind,’ which creates a kind of musical mist that the three players penetrate with superb articulation and exquisite expression. Same for Sofia Gubaidulina's ‘Garden of Joys and Sorrows’ from 1980, which makes a wide variety of technical demands met handsomely by the instrumentalists as they conjure up a world of richly poetic imagery.
------Tim Smith, The Baltimore Sun

One of the great sonorities in chamber music is the sound of flute, viola and harp in combination: it’s weightless but with real depth. There is potentially an exotic tinge to resultant textures; it can be wonderfully precise yet endlessly atmospheric and evocative. It was Debussy’s chosen medium for one of his late Sonatas […] Here is a wonderful new recording of the work, magically played by flautist Maria Piccinini, violist Kim Kashkashian and harpist Sivan Magen, coupled with Takemitsu’s evocative masterpiece ‘And Then I Knew 'Twas Wind’ and another enthralling study in stasis, ‘Garden Of Joys And Sorrows’ by Sofia Gubaidulina. What a seductive feast for the ears and the imagination.
------Michael Tumelty, Sunday Herald

The trio’s unusual instrumentation made its debut in Debussy’s mysteriously beautiful sonata, the middle work on this release, which contains some of the composer’s most imaginative chamber textures along with a furtive sense of melancholy. Takemitsu, for whom Debussy’s works were critical, extended the French composer’s innovations in ‘And then I knew ’twas Wind.’ Here the surfaces become more   sinuous and less tangible, time is extended, and the piece plays like a series of enigmatic images. Even sparer and more restrained are the rustlings in Sofia Gubaidulina’s ‘Garden of Joys and Sorrows’, which balances  a series of pitches from the natural harmonic series against the stabbing dissonances of minor intervals. The performances are all superb – precisely calibrated despite the dreamlike cast of the program as a whole.
------David Weininger, Boston Sunday Globe


"Ms. Piccinini is the Heifetz of the Flute." 皮奇尼尼女士就是长笛版的海菲兹。
------Gramophone


武满彻(1930-1996)，日本作曲家。1930年10月8日生于东京。师从清濑保二学习音乐。19岁前后与作曲家汤浅让二和钢琴家圜田高弘等组成艺术家社团 “实验工房” ，并开始作曲 。1957 年创作《弦乐追思曲》，别有新趣，影响较大。60年代作有由17件弦乐器演奏的《地平线上的多里亚》、琵琶、尺八和乐队演奏的《十一月的阶梯》、钢琴和乐队演奏的《星群》等，逐渐蜚声国际乐坛。70年代后的作品有《鸟儿飞落到星状的院庭》等9首管弦乐曲 ，雅乐曲《秋庭乐·一具》 ，弦乐四重奏《仅有的路》，以及不少电影音乐和室内乐作品。他的创作个性鲜明，音乐语言新颖独特，在日本音调基础上运用了西方现代音乐技法，具有时代新鲜感。


德彪西(1862-1918)在去世前3年的1915年，曾计划把各种乐器组合成6首奏鸣曲，但计划没有完成，只完成了3首：《大提琴和钢琴奏鸣曲》（作于1915年）、《小提琴和钢琴奏鸣曲》（作于1917年）和这首《长笛、中提琴和竖笛奏鸣曲》（作于1915年，于1917年4月21日首演）。

《长笛、中提琴和竖笛奏鸣曲》共3个乐章：

1．牧歌，慢板，柔和的伸缩速度（rubato）。竖琴的琶音引导后，长笛奏哀怨的导入旋律，为全曲基础乐念。中提琴进入后，与长笛形成一对。然后竖琴奏平静的插句，长笛应答，在竖琴伴奏下，长笛再表现安静的第二主题。中段，长笛把中段主题片断预示后，竖琴呈示中段主题全貌。

2．间奏曲，小步舞曲速度，3段体。小步舞曲主题由第一乐章开头的导入旋律构成，此主题经各种处理后，竖琴呈示有附点节奏的副主题，并被长笛与中提琴继承，最初旋律回顾后进入中段。中段由竖琴的和弦开始，然后是竖琴微妙变化的琶音，中提琴、长笛的幻想性表达。

3．终曲，中庸的快板但决然地，在竖琴和弦上，第一个主题由长笛移至中提琴，后半部中提琴对中心乐念以发展。中段是在中提琴节奏化伴奏上奏出中段主题，不久又回到第一主题，进入等于第三段的再现。第一乐章的中心乐念表达的，进入急速的高潮。

德彪西的这首乐曲本身也非常好听，长笛声部的技术与音乐性都写得非常到位，是他晚期创作的着名作品之一。乐曲中三种乐器的节奏和色彩的高妙把握，魔幻般地勾起了人们对整个法国音乐历史的回忆。

在这首乐曲中，德彪西以长笛、中提琴、竖琴这三件灵秀的乐器，为我们营造出美幻的意境。随着音符，仿佛多彩的色影在画面时聚时散，激荡飘逸。音乐氛围温柔而润泽，旖旎而飘渺，安详而迷蒙......

长笛最能表现清风，清凉的、徐缓的流动，中提琴暗淡沙哑的音色就是月光的写照，而竖琴的弹拨则是月下水面的粼粼波光。有点怪怪的旋律听上去却那么悦耳，让人无尽遐想：朱自清先生的“荷塘月色”、莫奈“睡莲”、中国古曲“春江花月夜”。。。。。但没有任何联想到的文字或画面能完全概括她能给心灵的抚慰。

这样的音乐似乎应该只出现在仙境里，现在就让我们随着这音乐暂入仙境吧。


古柏杜丽娜(b.1931)称自己的音乐风格为“当东方遇到西方”，但其作品中两种文化的相遇又不仅仅是简单地归纳为形式是东方的、精神是西方的，或是相反。在诗人Franciso Tanzer的诗作触发下创作的《欢乐与悲痛的花园(1980)》中“有两重世界，我心中的东方花园经由属于西方的Tanzer诗句，在我心中合一，并显出它的静谧与苦痛”。


Track list:

1. Toru Takemitsu - And then I knew 'twas Wind      15:02
    武满彻 - 然后我知道那是风

Claude Debussy - Sonata for flute, viola and harp (1915)
德彪西 - 长笛,中提琴和竖琴奏鸣曲
2. Pastorale. Lento, dolce rubato      07:07 牧歌
3. Interlude. Tempo di Minuetto      06:09 间奏曲
4. Finale. Allegro moderato, ma risoluto      04:46 终曲

5. Sofia Gubaidulina - Garten von Freuden und Traurigkeiten für Fl?te, Viola, Harfe und Sprecher (ad lib.) (1980)    18:44
    (Garden of Joy and Sorrow, Trio for Flute; Viola; Harp and Speaker (ad lib.))
    索菲亚·古拜杜丽娜 - 欢乐与悲痛的花园 - 长笛,中提琴和竖琴三重奏

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谢谢楼主提供古典音乐分享，下来收藏了。

大弦嘈嘈如急雨，小弦切切如私语；嘈嘈切切错杂弹，大珠小珠落玉盘。

感觉真实的音乐，认真和坚持是非常有必要的！

好古典音乐音乐感受就是不一样.

当一种美妙静止下来时，它就升华成了一曲无声的音乐，奏响在人们静谧的心中。

大弦嘈嘈如急雨，小弦切切如私语；嘈嘈切切错杂弹，大珠小珠落玉盘。

音乐的美妙并不寄寓于它的音调，而在于我们心中的回响。

古典音乐一切都好，我来听听。谢谢！

正如建筑可以说是凝固的音乐一样，它也可以说是一种空间音乐。