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4无损音乐格式古典音乐冷门 - ECM 卡斯卡西安(中提琴) 阿斯图里亚姑娘 - 西班牙与阿根廷歌曲
Asturiana - Songs from Spain and Argentina
Kim Kashkashian, Robert Levin
Composers: Manuel de Falla (1876-1946) 马努埃尔·德·法雅,
Enrique Granados (1867-1916) 恩里克·格拉纳多斯,
Alberto Ginastera (1916-1983) 阿尔伯特·吉纳斯特拉,
Xavier Montsalvatge (1912-2002) 泽维尔·蒙特萨尔瓦特,
Carlos López Buchardo (1881-1948) 卡洛斯·洛佩斯·布查尔多,
Carlos Guastavino (1912-2000) 卡洛斯·瓜斯塔维诺
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
Robert Levin, piano 罗伯特·莱文
Genre: Classical
date: 21.09.2007
脚丫和低沉的中提琴一样迷人......
Highly attractive combining of folk-influenced pieces by composers from Spain –(Manuel de Falla, Enrique Granados, Xavier Montsalvatge) and Argentina (Alberto Ginastera, Carlos Gustavino), by the long-established duo of Kim Kashkashian and Robert Levin, whose last ECM disc, with the Brahms viola sonatas, won the Edison Award in 1999. Kashkashian has described the viola as the most ‘vocal’ of the string instruments, the one closest to the human voice. She seems indeed a singer as she makes of these different compositions an organic unity - an impression heightened by the dramaturgy of the production.
Background
“Kashkashian plays with rhythmic life over a wide dynamic and coloristic range; her wonderful bow arm can communicate infinitely subtle or boldly declamatory nuances of speech and song...Levin, celebrated for his Mozart, is equally assured in French music and, it turns out, in Spanish, summoning a full spectrum of attack, articulation, color and volume. His collaboration with Kashkashian was vigorously interactive... They seemed to have been phrasing to and playing off the unheard words. Whether they were playing about souls gathering at the river, lullabies, moonlight, love or hate, greeting or farewell, they put us in the middle of the situation and the atmosphere.”- Richard Dyer, concert review in the Boston Globe
“Songs are the most potent of all cures”, writes Kim Kashkashian in her notes for this remarkable album, recalling her own introduction to music via the folk songs her father sang. This early exposure instilled in her an enduring fascination with song and, subsequently, with the challenge of bringing a string instrument to express some of the “melodic and emotional information that a voice imbues.” Her musical journey since then has made her an important advocate for the most diverse expressions of modern and contemporary music – from Hindemith to Kurtág, from E?tv?s to Mansurian, but the love of song has never left her:“When I look back at my work, and when I imagine future forms for that work, the one certainty is song.“
On “Voci”, Kashkashian’s viola sang Luciano Berio’s inspired adaptation of Sicilian folk song. On “Ulysses Gaze” the folk-tinged melodies of Eleni Kariandrou. On “Hayren”, alongside leading Armenian composer Tigran Mansurian she explored her own folk heritage, through the songs handed down by Komitas. Now the subject at hand is the alluring and richly expressive song tradition of Spain and Argentina.
“Asturiana” includes compositions of De Falla, Granados, Guastavino, Ginastera, Monstsalvatge and Buchardo. Almost all are pieces rooted in folk materials and regional dance styles. All were written originally to be sung, with words from the oral tradition or from local poets. Transcriptions of many of these pieces for viola and piano were developed by Kashkashian and long-time musical partner Robert Levin over a period of “several years of performing. They introduce numerous alterations and expansions to the original vocal lines, including changes of register, additional music for the viola, and a host of declamatory devices including the use of multiple stops and pizzicato”. Experimentation is at the service of the songs’ moods and meanings, their range of temperament. As Robert Levin says, these are pieces “unabashedly flamboyant, sensual, violent, tender, passionate, and reflective in turn.”
Manuel de Falla’s “Siete Canciones populare espanolas” have long been part of Kashkashian/Levin’s recital repertoire, and “Asturiana”, the album, is named for the third of the seven de Falla songs. As with Guastavino’s “La rosa y el sauce” and Alberto Ginastera’s “Triste”, “Asturia” itself appears twice in the course of the CD. The musicians and producer Manfred Eicher have made of the programme a larger form with a dramaturgical flow that gives a sense of Spanish and Argentinean song unfolding as a continuous process. A process that can accommodate such strikingly individual composers as Guastavino (1912-2000) and Montsalvatge (1912-2002). For they, too, as Levin notes, “understand the power not only of the flamboyant, but also of understatement. Montsalvatge has been compared with fellow Catalan Mompou in his taste for combining simple melodic material with sophisticated harmony. His songs of the 1940s are Cuban influenced in both rhythm and subject matter.
Guastivino’s works of the same period show a reverence for the people, flora and fauna of Argentina .“La Rosa y el sauce” and “Se equivvocó la poloma”, his best-known and best loved pieces are characteristic.
“Triste” belongs to Ginastera’s Op. 10, “Cinco canciones populares argentinas”, a set of five songs for voice and piano, written in 1943. This yearning paean of unrequited love is not merely sorrowful: the ‘triste’ was also a 19th century song type of loose form – Ginastera brings to it a sense of improvisational freedom which has been likened to “the sound of the gauchos strumming their guitars in the wilderness”
The four songs by Enrique Granados are drawn from a collection of twelve Tonadillas, “in the ancient style”(written in 1911/12),the characters in the song inspired, liner note author David Grayson says, by the art of Goya.
说到金·卡斯卡西安（Kim Kashkashian）的音乐风格，她不像尤里·巴什梅特(Yuri Bashmet, 被誉为“中提琴界的帕格尼尼”)有种独特的沧桑感，刚强粗旷的文体。相反的，卡斯卡西安的音色温暖而内敛，感性细腻的叙事风格，有着人声般的歌唱性。身为音乐学权威并任教于哈佛大学的罗伯特·莱文(Robert Levin)，与卡斯卡西安合作多年，对于乐曲的改编更是娴熟，要将这些民谣改编成适合中提琴与钢琴演奏，其实需要一些大胆的冒险，但无论在改编或是伴奏，莱文都将这些民谣曲调演译的相当有味道。
任何时刻，歌曲总是一种最有效的疗药---无论是否带有文字上的叙述。当自己无法与自己对话时，歌曲可以与自己的灵魂对话；这是种私密性的探索，孤独的探索，在黑暗中的探索。卡斯卡西安的中提琴在唱歌，她为我们唱歌，其实也是对她自己唱。阿斯图里亚(Asturiana)是一种西班牙当地独特的方言，专辑中的音乐都是从阿斯图里亚(Asturiana)的歌曲中取材。听卡斯卡西安拉奏出的的西班牙歌谣，有种看阿莫多瓦的电影一样的触动，或许在情感上的撞击没这么激烈，但几乎是同一种语言，脆弱与坚强矛盾的相生，感伤与喜悦交织共存。那些文字无法到达的地方，卡斯卡西安用音乐婉婉道来。
这些来自西班牙与阿根廷的歌谣里面，有法雅(Manuel de Falla)，格拉纳多斯(Enrique Granados)这几位常见的作曲家，另有瓜斯塔维诺(Carlos Guastavino)和吉纳斯特拉(Alberto Ginastera)等人的作品也相当出色，专辑立体声上类似连篇歌曲的概念，以法雅所写的<阿斯图里亚姑娘(Asturiana)>作楔子，串联多位作曲家的作品，中间两次利用吉纳斯特拉所写的<悲歌(Triste)>一首冰冷如水的悲歌作情绪的转换。值得一提的是，法雅的霍塔舞曲(Jota)一般听到多是小提琴版本，而卡斯卡西安的中提琴却有着不输小提琴的热情与动感，令人激赏。
金·卡斯卡西安1952年生于美国底特律。毕业于 Peabody 音乐学院，同期的学生还包括Walter Trampler和Karen Tuttle等。曾经连续数年在Marlboro Festival的室内乐团中任中提琴手，随后她主要以中提琴独奏家的身份在欧洲巡演。卡斯卡西安常与钢琴家罗伯特·莱文(Robert Levin)搭配中提琴与钢琴二重奏，时有精彩的演出呈现。1994年卡斯卡西安开始拥有Antonio & Girolamo Amati名琴(1617年制)，她曾表示：由于中提琴立体声至今仍没有一定的规格及尺寸，所以现代的制琴家仍然继续实验不同规格尺寸的中提琴对音色表现的影响。卡斯卡西安是位既热情明朗，又带一点神秘感的音乐家，她的热情让演奏里洋溢着一股温暖的人性光芒，而极端严格的自我要求，使得她能够旧能地将作曲家创作时的原始情感彻底解放出来。
如果抛开音乐本身不说，ECM的唱片在装祯设计上所花的功夫也可谓是迎合潮流的用心良苦。简约主义风格（Minimalism）可谓贯穿其公司发行的唱片设计的始终：黑白为设计的主色调，灰色为辅－－而其他色彩一般不与采用。封面的取景设计讲究鲜明，比如对风景采用广角式所摄照片，内容不会过于烦杂（例如ECM1341，1431，1568以及1583等的封面）；如果画面显得零乱，则非常注意对照片进行空间上的处理，也就是说突出边白的作用（例如ECM1508， 1652，1540等的封面）；而对于涉及人物肖像的封面设计，剪影效果的处理往往能够体现一贯风格（例如ECM1605， 1695， 1589及1471等的封面）；而还有更多的封面设计则直接利用几何构型以及色彩对比来处理（ECM1571， 1340， 1406等的封面）；至于其他未能归类的设计也都遵从简约这一原则。
Track list:
Manuel de Falla (1876-1946) - Siete Canciones populares espa?olas 法雅 - 七首西班牙民歌
1. Asturiana 02:51 阿斯图里亚姑娘 / 阿斯图里亚女郎
Enrique Granados (1867-1916) - Tonadillas al estilo antiguo 格拉纳多斯 - 古风短歌集 / 古风通纳迪亚集
2. El Mirar de la Maja 02:59
3. El Majo Olvidado 03:19
4. La Maja Dolorosa 3 03:26
5. El Majo Discreto 01:26
6. La rosa y el sauce 02:20 玫瑰与垂柳
(Carlos Guastavino, 1912-2000) 卡洛斯·瓜斯塔维诺
Alberto Ginastera (1916-1983) - Cinco canciones populares argentinas 吉纳斯特拉 - 五首阿根廷民歌
7. Triste 03:44 悲歌
Xavier Montsalvatge (1912-2002) - Cinco canciones negras 蒙特萨尔瓦特 - 五首黑人歌曲
8. Canción de cuna para dormir a un negrito 02:54
9. Chévere 02:03
10. Cuba dentor de un piano 04:44
11. Punto de habanera 01:13
Manuel de Falla (1876-1946) - Siete canciones populares espa?olas 法雅 - 七首西班牙民歌
12. El pa?o moruno 02:26 摩尔人的呢子
13. Seguidilla murciana 01:15 穆尔西亚的赛吉迪利亚舞曲
14. Asturiana 02:42 阿斯图里亚姑娘
15. Jota 02:44 霍达舞曲 / 霍塔舞曲
16. Nana 02:37 摇篮曲
17. Canción 01:36 歌曲
18. Polo 01:25 波罗舞曲
Alberto Ginastera - Cinco canciones populares argentinas 吉纳斯特拉 - 五首阿根廷民歌
19. Triste 03:44 悲歌
20. Se equivocó la paloma... 02:18
(Carlos Guastavino)
21. Abismo de sed 03:30
(Carlos Guastavino)
22. Pampamapa 04:16
(Carlos Guastavino)
23. Bonita rama de sauce 03:42
(Carlos Guastavino)
24. La rosa y el sauce 02:20 玫瑰与垂柳
(Carlos Guastavino)
Carlos López Buchardo (1881-1948) - Cinco canciones argentinas al estilo popular 布查尔多 - 五首阿根廷民歌及流行歌曲
25. Prendiditos la mano 01:56
26. Oya mi llanto 04:23
TT: ?'?
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