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卡斯卡西安(中提琴) 悲伤成河 - 奥立佛,曼苏里扬,斯坦伯格,柯米塔斯作品
Kim.Kashkashian.-.[Olivero,Mansurian,Steinberg.-.Neharot.(ECM)].悲伤成河
Kim Kashkashian - Neharót - Betty Olivero / Tigran Mansurian / Eitan Steinberg (2009)
卡斯卡西安(中提琴) - 悲伤成河 - 奥立佛,曼苏里扬,斯坦伯格,柯米塔斯作品
Composers: Betty Olivero (b.1954) 贝蒂·奥立佛(以色列作曲家),
Tigran Mansurian (b.1939) 季格兰·曼修灵 / 曼苏里扬,
Eitan Steinberg (b.1955) 艾坦·斯坦伯格(以色列作曲家),
Komitas Vardapet (1869-1935) 柯米塔斯 / 科米斯塔 / 克米斯塔
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
Kuss Quartett
Münchener Kammerorchester
Alexander Liebreich Conductor
Robyn Schulkowsky Percussion
Tigran Mansurian Piano
Boston Modern Orchestra Project
Gil Rose Conductor
Jana Kuss Violin
Oliver Wille Violin
William Coleman Viola
Felix Nickel Violoncello
Genre: Classical
date: 28.08.2009
Kim Kashkashian’s new album following her Spanish and Argentinian songs on ?Asturiana“ is a carefully composed prgramme addressing fascinating connections between three contemporary composers from Israel and Armenia. With five pieces respectively based on traditional laments of the Near East, Armenian chant and Hasidic melody, the focus is again on essentially vocal expressivenss. “What we hear in this music touches off resonances below the level of our acquired expeience”, writes Paul Griffiths in his liner notes. “Singing these songs, in a hybrid register that embraces male and female, Kashkashian’s viola sings for us all.” Betty Olivero started work on “Neharót Neharót” under the impression of the suffering and pain caused by the war in Lebanon (黎巴嫩) in 2006. Olivero’s hypnotic lament for viola, accordion, percussion, two string ensembles and tape draws on allusions to Kurdish and north African songs, traditional oriental music and Monteverdi. The instrument’s singing abilities come even more to the fore in Tigran Mansurian’s “Three Arias (Sung out the window facing Mount Ararat)” which articulate the Armenian people’s longing for the holy mountain beyond the border. “Rava Deravin” by Israeli Eitan Steinberg is based on a melody for a poem by one of the greatest traditional kabbalists and was first conceived in a version for voice and instrumental ensemble. According to the composer, Kashkashian “manages to cry the prayer from within the strings, to murmur the sacred text with no words”.
The title “Neharót Neharót”, the Israeli composer Betty Olivero says: "means Rivers, Rivers, in reference to the floods of tears which are too often shed bu mourning women in disastrous situations".
部分作曲家介绍：
柯米塔斯(1869-1935)，亚美尼亚(Armenia)神父，音乐家，亚美尼亚人的精神象征、亚美尼亚近代音乐之父。柯米塔斯的音乐富于生动的韵律和张弛，听起来像一条凉爽、纯洁、发光的溪流沁入内心深处。他把西方音乐形式扎实地、降地植入亚美尼亚民间和宗教音乐，为亚美尼亚音乐重新焕发青春奠定了坚实的基础。而他的灵魂深处，始终保存着一处虔诚，那是对民族深厚文化的忠贞和对国家光明前途的信心，成为亚美尼亚民族精神永恒的火炬。
曼苏里扬/又译曼修灵(Tigran Yeghiayi Mansurian, born 27 January 1939)是出生在黎巴嫩贝鲁特的亚美尼亚当代古典音乐、电影音乐作曲家，他在亚美尼亚完成学业并取得成功，曾在上世纪的60年代得过两次全苏作曲比赛第一名。曼苏里扬写下大量作品，并十分偏爱弦乐--尤其是中提琴乐器。因为他觉得，中提琴是世界上最为优美的歌唱性乐器。
曼苏里扬既没有哈恰图良的热情也没有阿鲁秋年的清新，更没有特特扬的沉默和爆发。他既不采用民族乐器也不直接引用民歌，但却深谙亚美尼亚音乐的奥妙，大致从第一、二弦乐四重奏开始，形成了自己简洁而又深情隽永的音乐风格。这种风格最鲜明地体现在曼苏里扬对中提琴的偏爱上。
中提琴的音色既柔和又略带大提琴的“沙哑”。继大提琴之后，大批杰出的苏联音乐家也把中提琴从乐队的角落里移到最前面，提升为独奏乐器。魏因贝格、柴科夫斯基等作曲家先后为德鲁日宁、巴什米特等演奏家创作了一批中提琴作品，但最佳搭档还要数90年代曼苏里扬与亚美尼亚女中提琴家卡什卡什扬(Kashkashian)的合作。
卡什卡什扬1952年生于美国底特律，家人是来自西亚美尼亚（现属土耳其）的移民，虽然她在美国长大，但从小就受家人唱的亚美尼亚民歌的熏陶——都在柯米塔斯收集的歌曲集里，不过在音色上与她日后在亚美尼亚亲身听到的并不相同——此后在美国成长为世界一流的中提琴家。如曼苏里扬所说：“当我觉得需要离开真实的亚美尼亚时，我转向另一个亚美尼亚，生活在柯米塔斯的音乐中的那个。”金·卡什卡什扬是美国亚美尼亚裔中提琴家，她演出了很多首曼苏里扬的新作品。作为世界上最着名的中提琴之一，金·卡斯卡西安近年来演奏推广大量的现代作品，并因此获得格莱美奖。
Track list:
1. Neharót Neharót (for viola, accordion, percussion, two string ensembles and tape) 16:20 河流河流 / 悲伤成河
(Betty Olivero, b.1954) 贝蒂·奥立佛，以色列作曲家
2. Tagh for the Funeral of the Lord (for viola and percussion) 05:31 主的葬礼之歌
(Tigran Mansurian, b.1939) 曼苏里扬，亚美尼亚重要的古典音乐与电影音乐作曲家
3. Oror (for piano) 02:57 摇篮曲
(Komitas Vardapet, 1869-1935) 柯米塔斯，神父、音乐家，亚美尼亚人的精神象征、亚美尼亚近代音乐之父
Tigran Mansurian - Three Arias - Sung out the window facing Mount Ararat (for viola and orchestra)
曼苏里扬 - 三首咏叹调 - 面朝圣山，歌飞窗外 （圣山这里指亚美尼亚人的亚拉拉特山）
4. I. Andante, ma non troppo 09:06
5. II. Tranquillo, poco libero 05:55
6. III. Lento, ma non troppo 04:22
7. Rava Deravin (for viola and string quartet) 15:59 善之善
(Eitan Steinberg, b.1955) 艾坦·斯坦伯格，以色列作曲家(http://www.benzaken-steinberg.com/)
TT: ??'??
注：Mount Ararat: 亚拉拉特山, 又译亚拉腊山 / 阿勒山 / 阿拉拉特山，今位于土耳其靠近亚美尼亚和伊朗的边界处。亚拉拉特山俯瞰着亚美尼亚的首都叶勒凡，同时也是该国之精神象征，《创世纪》一书中记载，诺亚方舟在大洪水后，最后停泊的地方就在亚拉拉特山上。自古以来，亚拉拉特山就是亚美尼亚人的精神象征。今日，尽管亚拉拉特山坐落在土耳其厄德尔省的东北边界附近，海拔5000多米，为土耳其的最高峰。它仍是亚美尼亚国徽正中央的图案，也是亚美尼亚的象征。
亚美尼亚国徽(中间的小盾表示诺亚方舟停于阿拉腊山山顶)
==============================
Background
“In a certain way the genesis of this record mirrors life”, says Kim Kashkashian. “You can't always make plans, you can't foresee how things work together. Sometimes, important events just come to you, element by element, piece by piece.” Following “Asturiana”, Kashkashian's recital of Spanish and Argentinian songs transcribed for viola and piano, “Neharót” is one of her most personal recorded statements to date. It offers a carefully composed programme that reveals underlying but all the more multi-faceted connections between three contemporary composers from Israel and Armenia. Their five pieces respectively based on traditional laments of the Near East, Armenian chant and Hasidic melody once again emphasise Kashkashian's extraordinary vocal expressiveness and deeply affecting tone. “What we hear in this music touches off resonances below the level of our acquired expeience”, writes Paul Griffiths in his liner notes. “Singing these songs, in a hybrid register that embraces male and female, Kashkashian's viola sings for us all.”
Betty Olivero started work on “Neharót Neharót” in response to the suffering and pain caused by the war in Lebanon in 2006. Olivero's hypnotic lament for viola, accordion, percussion, two string ensembles and tape is a distinctly contemporary piece that draws on allusions to Kurdish and north African songs, traditional oriental music and Monteverdi. The instrument's singing abilities come even more to the fore in Tigran Mansurian's “Three Arias (Sung out the window facing Mount Ararat)” which articulate the Armenian people's longing for the holy mountain beyond the border. “Rava Deravin” by Israeli Eitan Steinberg is based on a setting of a poem by one of the greatest traditional kabbalists. As the composer says, Kashkashian “manages to cry the prayer from within the strings, to murmur the sacred text with no words”.
The first seed for the project appeared when Kashkashian heard Etty Ben-Zaken perform a vocal piece by Israeli composer Eitan Steinberg, the singer’s husband, in Boston. She was so impressed by Ben-Zaken’s combination of singing, recitation and theatrical action that she asked the composer whether a comparably eloquent and emphatic solo part could be transferred to the viola. Steinberg suggested “Rava Deravin” which originally had been conceived for wordless voice and a mixed ensemble. In accordance with Kashkashian’s timbral and coloristic ideas he subsequently transcribed it for the more homogenous sonorities of solo viola and string quartet.
“I met both Steinberg and Betty Olivero through the composer Osvaldo Golijov with whom I had spoken about my interest in music employing the stringed instrument as a human voice”, says Kashkashian. “When Betty Olivero received a commission for a new piece from New York’s cultural center 92nd Street Y she immediately suggested to write something for me. I played a lot of Armenian songs for her. However, she didn’t choose any of these but rather adapted her writing to the general character of my playing while using completely different historical sources. As it finally turned out the first performance took place in Amsterdam with the New York premiere following only one year later.”
The most recent piece on the album is “Three Songs” by Armenian composer Tigran Mansurian with whom Kashkashian has frequently collaborated for many years and whose works she recorded on exemplary ECM productions such as “Hayren” (released in 2003) and “Monodia” (2004). The present recording stems from the Boston world premiere in May 2008. Kashkashian: “Tigran himself has this predilection for song and the spoken word and, when composing, he identifies very closely with the musician he is writing for. But I think this piece epitomises a pure essence of his music, something that emanates from the very soul of his personality and transcends any instrumental character.”
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
