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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。
5无损音乐格式古典音乐冷门 - Innova自由 - 魏因贝格(1919-1996),芬科(b.1936),丹尼尔波(b.1956)长笛作品
Dolce Suono Ensemble - Weinberg, Finko & Danielpour - Freedom (2015)
Composers: Mieczyslaw Weinberg (1919-1996) 梅谢斯拉夫·魏因贝格,
David Finko (b.1936) (http://www.davidfinko.org/) 戴维·芬科,
Richard Danielpour (b.1956) (http://www.richard-danielpour.com/) 理查德·丹尼尔波
Ensemble: Dolce Suono Ensemble (www.dolcesuono.com) 甜蜜声音室内乐团
Artist: Mimi Stillman, flute (http://mimistillman.com/) 咪咪还是男人 / 米幂·斯蒂尔曼;
Charles Abramovic, piano;
Yumi Kendall, cello
Genre: Contemporary Classical
Label: Innova (https://www.innova.mu/) 创新唱片公司
No.: Innova 935
Year: 2015
Flowing, Middle Eastern-sounding melodies inflect this emotionally charged lamentation; it shimmers with agitation and occasional discord.
— Mark Pinto, WRTI, MAY 23, 2016
Notes from the Composers:
David Finko, Sonata for Flute and Piano The sonata was written for Mimi Stillman in 2012 and is dedicated to her. I identified the role of the flutist as protagonist in a loosely structured narrative throughout. The Largo opens with soft yet ominous chords in the piano for which I have a mental picture of a devastated city after a nuclear bombing. The flute enters with tentative steps, the image of a sole survivor roaming through this desolate landscape. Anguished cries interrupt the quietly flowing music. The second movement, Con moto, is a kind of dance exhibiting fury, virtuosity, and humor. A slow middle section provides a peaceful meditation. The Lento assai is gentle, dreamlike, and melancholic. The fourth movement, Con moto, appassionato, is dramatic and energetic. The flute’s motif at the beginning of the sonata is now heard in loud passages. The piece ends with shimmering major sonorities, indicating that the lone voice finally obtains inner peace. —David Finko
Richard Danielpour, Remembering Neda: Trio for Flute, Cello, and Piano Remembering Neda: Trio for Flute, Cello, and Piano was composed in the fall of 2009 in remembrance of Neda Agha-Soltan, a young woman who was shot to death in protests during the summer of 2009 in Tehran. She was part of a wave of thousands of young Iranians who took to the streets in the wake of what were very likely rigged elections in Iran in June 2009. Because of Iran’s repressive government (some have called it a “police state”) which has evolved in recent years, and because of the way women in particular have been brutalized in that country, Neda has become, for Iranians and others, a symbol of the struggle to prevail against such political and social injustices. Her death was documented on television; millions throughout the world watched this young woman die on video. And when I saw this myself, I realized that I needed to say something about it in the way I am most articulate - through music. My parents, Persian Jews, were born in Iran and came to the US when they were young. I was born in USA but spent a year as a child in Iran (1963), during the reign of the Shah Mohammed Pahlavi. My memories of that time are still quite clear. My mother, a sculptor, worked on several pieces commissioned by the Pahlavi family in the 1970s. And in the spring of 1980, roughly a year after the Iranian Revolution of 1979 when the Ayatollah Khomeini seized power, one of my paternal uncles was imprisoned, tortured and executed for the crime of owning land in Israel. Other members of my family were forced to leave Iran in the months and years that followed. I have kept much of my personal history at a distance from my work as a composer - until now. Remembering Neda is a cry for understanding in this most troubled place in the world. It is a lamentation for the losses incurred during this dark time in Iran. And it is a prayer of hope that this most unfortunate of situations will one day change. —Richard Danielpour
CD liner notes
About Dolce Suono Ensemble 甜蜜声音室内乐团
“Adventurous Philadelphia ensemble” – Vivien Schweitzer, The New York Times
“All programs should have this much to say, and say it so well.” – David Patrick Stearns, The Philadelphia Inquirer
“Dolce Suono Ensemble eloquently advocates for new music.”
– Corinna da Fonseca-Wollheim, The New York Times
Dolce Suono Ensemble has been dazzling audiences and invigorating the music world since its founding by flutist and Artistic Director Mimi Stillman in 2005. The ensemble presents critically acclaimed chamber music concerts on its home series in Philadelphia, performs on tour, commissions important new works, makes recordings, and engages in community engagement partnerships. Dolce Suono Ensemble was Chamber Music America’s featured American Ensemble and has been highly praised by The New York Times as an “adventurous ensemble.”
Dolce Suono Ensemble presents dynamic and innovative programming of repertoire that spans Baroque to new music. Its curatorial vision sets the music in its broadest cultural context with programs built organically on a theme, for example, the celebrated Mahler 100 – Schoenberg 60, Debussy in Our Midst: A Celebration of the 150th Anniversary of Claude Debussy (1862-1918), Samuel Barber at 100: The Composer and His World, and Tribute to Julius Baker. The ensemble’s Música en tus Manos project, its initiative with the Latino community, won the Knight Arts Challenge.
Dolce Suono Ensemble has performed recently at venues including Symphony Space, Southern Exposure New Music Series (SC), Roulette (Brooklyn), Smithsonian American Art Museum, Princeton University, Bard College, and Philadelphia Chamber Music Society, and served as ensemble-in-residence at Cornell University, Kingston Chamber Music Festival, and Lake George Music Festival. The ensemble enjoys a partnership with the Domingo-Cafritz Young Artist Program of Washington National Opera at the invitation of Plácido Domingo and a co-presenting collaboration with the Arthur Ross Gallery at the University of Pennsylvania.
Dolce Suono Ensemble’s active commissioning program, with 44 world premieres in 11 seasons, has been a major force in building the repertoire. The ensemble has commissioned some of today’s most eminent composers, including Shulamit Ran, Steven Stucky, Richard Danielpour, Jennifer Higdon, Steven Mackey, David Ludwig, Jeremy Gill, Zhou Tian, Benjamin C.S. Boyle, and Fang Man, as well as outstanding emerging composers through its Young Composers Competition. The ensemble’s recordings include the much lauded “Odyssey: 11 American Premieres” (Innova) with Mimi Stillman, flute and Charles Abramovic, piano, and the recently released “Freedom” with Mimi Stillman, flute and Charles Abramovic, piano, joined by Yumi Kendall, cello, in premiere recordings by Mieczyslaw Weinberg, Richard Danielpour, and David Finko. Dolce Suono Ensemble concerts and recordings are regularly broadcast by WWFM, (Mimi Stillman co-host), “Performance Today”, WRTI, WNYC, WHYY TV, Kol HaMusica (Israel), and by other radio stations on four continents. www.dolcesuono.com
About Innova 创新唱片公司
Innova Recordings’ story begins in 1982, when it was founded by the Minnesota Composers Forum (now the American Composers Forum) as a way to document the McKnight Composer Fellowship winners. In its early years, innova produced several sampler LPs featuring the works of a range of Minnesota composers, many of whom have since achieved national prominence, including Eric Stokes, Libby Larsen, Paul Schoenfield, Steve Tibbetts, and Steven Paulus. With the advent of the compact disc, innova began releasing selected highlights from the top ensembles (the Dale Warland Singers, the Saint Paul Chamber Orchestra, the Alexander String Quartet, and others) that had been on the Composers Forum concert seasons.
Over its first ten years, innova built up a broad distribution network, far beyond the Forum’s own membership circles, and in 1994, the label — always looking for ways to be of service to the new music community — opened its doors to artists who had their own finished masters and were looking for a helping hand in reaching a wider audience. Thus was born the Recording Assistance Program, an exceptionally artist-friendly business model that has allowed the label to grow to one of the most substantial in the nation. In recognition of the career benefits innova can bestow on its artists, the McKnight Foundation endowed it with a $1 million fund in 2002. Interest from that allows the label to keep costs relatively low to artists (who also keep 100% of sales income) and subsidize administrative costs so each title can receive greater bang for the buck.
In the last decade, the label’s catalog has grown from 70 to over 500 titles, with innova producing 20-30 releases a year encompassing diverse genres, concepts, and approaches — all somehow non-conformist, individualistic, and groundbreaking. Original works receiving their recording debuts (Robert Moran’s Trinity Requiem, Graham Reynolds’ The Difference Engine) sit next to reissues of long out-of-print classics (Talking Drums’ Some Day Catch Some Day Down, William Bolcom's Open House) and definitive career retrospectives (archives of recordings by Harry Partch and Henry Brant). Bold reimaginings of classics (Darrel Brenzel's The Re(w)-Rite of Spring, Grand Valley State University New Music Ensemble’s In C Remixed and Music for 18 Musicians) collide with expansive cultural time capsules (The NYFA Collection: 25 Years of New York New Music, Sonic Circuits Electronic Music Festival). Exploratory new music (Todd Reynolds’ Outerborough, Maya Beiser’s Provenance) mingles with modern twists on traditional music (DuoJalal’s A Different World) and hangs out with lo-fi garage pop (R. Stevie Moore’s Nevertheless Optimistic). Field recordings from Vietnam (Stilling Time), Cuba (Habanera), and Belize (Lebeha Boys) cohabit with career collections of music by PRISM Quartet, Zeitgeist, Society for New Music, Fred Ho, Mark Applebaum, Barry Schrader, Andrew Violette, Eleanor Hovda, Robert Moran, and many more. Not only does innova march to the beat of a different drum (the non-profit, artist centered philosophy, in this case), but the different drummer herself (and not just Susie Ibarra) is likely on the roster of artists.
Innova albums and artists have been nominated for - and won - Pulitzers, Grammies, and Emmies. They have received plaudits from publications from the New York Times to Czech Republic’s His Voice magazine, from the Wire in London to the Los Angeles Times, Italy’s Kathodik and everywhere in between.
Major grants over the years from the National Endowment for the Arts (2001, 2003, 2004, 2008, 2010) and the New York State Music Fund (2007) have boosted the label’s growth, reputation, and visibility. In 2009 innova partnered with Naxos USA distribution to expand its reach even further and is constantly adapting to changing needs and embracing new technologies. Philip Blackburn took over the running of the label from Homer Lambrecht in 1996 and has been joined by Chris Campbell (2003) as Operations Director, and Publicist, Steve McPherson (2010).
In 2012 innova was awarded the prestigious Laurel Leaf Award from the American Composers Alliance "for its excellent support of the full range of contemporary American music."
Track List:
Mieczyslaw Weinberg (1919-1996) 梅谢斯拉夫·魏因贝格
Five Pieces for Flute and Piano (1947) (17:08)
1. Landscape 2:58
2. First Dance 1:21
3. Second Dance 6:23
4. Melody 4:05
5. Third Dance 2:21
David Finko (1936) 戴维·芬科
Sonata for Flute and Piano (2012) (18:49)
6. Largo 5:34
7. Con moto 3:44
8. Lento assai 4:06
9. Con moto, appassionato 5:25
Richard Danielpour (1956) 理查德·丹尼尔波
Remembering Neda: Trio for Flute, Cello, and Piano (2009) (17:16)
10. Lamentation 3:53
11. Desecration 3:23
12. Benediction 10:00
TT: 53'13
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