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发表于 2004-1-31 11:13:00
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终于找到了吉他协奏曲的试听片段：
http://music.barnesandnoble.com/search/product.asp?ean=685738183029
http://www.sharonisbin.com/disc.html
中文介绍：（源自吉他风景线）
谭盾认为当代的作曲家必须以非传统的眼光来认识传统的事物。对于他来说，传统乐器只不过是扩展其现有风格的出发点。在吉他与管弦乐协奏曲《易经三部曲之二》中，谭盾从中国鲁特琴——琵琶的角度来审视吉他的表现潜能，但他并不是简单地把琵琶的技巧和音效移植到吉他上。谭盾的音乐世界并非象劳斯那样极端：“在东方和远东的传统中，音乐与人类的生活和思维息息相关。我们每天必须面对的现实与凡俗在音乐中存在着某种真实的写照。”在这个前提下，谭盾洞察到当今的作曲家并不必须再墨守成规地抱着风格标准不放：“甚至仅仅是媒体方面的变化都会要求在音乐观念上有所改变。”
谭盾的吉他协奏曲《易经三部曲之二》(Yi2)是1996年受位于巴顿-巴顿(Baden-Baden)的西南德国广播电台的委托，为Donaueschingen艺术节创作、并在该艺术节上由伊斯宾和洛沙·扎格洛塞克(Lothar Zagrosek)指挥的法国国家交响乐团合作进行世界首演。这部协奏曲是易经三部曲的最后一部，Yi0是管弦乐作品，Yi1是大提琴协奏曲，Yi2则是这首吉他协奏曲。在较长的吉他独奏乐段中，管弦乐为独奏者的即兴创作提供了适当的烘托：“最好的音乐同时也应该是理想的即兴演奏。所谓‘即兴’并非恣意，而是自由的创作，同时它必须给听众以‘非此不可，别无他选’的印象。只有在音乐中才能实现这种自然性与逻辑性的高度结合。”伊斯宾认为谭盾将吉他与琵琶这两种非常不同的乐器进行融合，同时也将西班牙文化和中国文化交织在一起。(琵琶属于旋律性的东方弹拨乐器，而吉他则是更偏重于和声的西方乐器)。此曲中伊斯宾大量使用了琵琶的轮指和装饰音，东方韵味十足，同时在第一乐章起始处应和着指挥的击掌进行扫弦和敲板，加入了少量弗拉门哥风格，甚至垂直拉弦打击品丝配合揉弦和大幅度滑音来模仿筝的音响。生长于湖南思茅地区的谭盾儿时曾居住在“白山”，那里每天几乎都进行50来场葬礼，而Yi2便是取材于这种“白喜”的葬礼音乐，(我们把丧事称作“白喜”，就象我们把婚事称作“红喜”一样)，吉他与管弦乐表现了这种丧葬场面和情绪。
英文评论Reviews ：
Barnes & NobleClassical guitarist Sharon Isbin is a remarkably versatile performer. Her 20-plus recordings cover a wide range of styles: from Baroque and latin to folk and even jazz-fusion. But more impressive are her efforts to extend the guitar's repertoire through commissioning works by contemporary composers. With this recording, Isbin adds two more premieres to her extensive resume, performing a pair of concertos for guitar and orchestra by Christopher Rouse and Tan Dun. Rouse's work, entitled Concert de Gaudi, takes as inspiration the fantastically surreal work of Barcelona's visionary architect, Antonio Gaudi, and a sense of his eccentric, organic structures inhabits the concerto. A Baltimore native and student of George Crumb, Rouse uses Spanish musical idioms as points of reference in his work -- such as the opening flamenco flourish -- and subjects them to distortion and bending along the way, creating a dreamlike musical landscape redolent of Spain. Chinese composer Tan Dun's concerto, Yi2, also has audible Spanish influences, but it melds those with evocations of the traditional Chinese lute, the p'i-p'a, forming an unusual and evocative cross-cultural blend of sonorities. The cultural mix extends to the album's performers, too: Isbin is American; Muhai Tang, the conductor, is Chinese; and the Gulbenkian Orchestra, which performs here with precision and style, is based in Lisbon, Portugal. The contemporary works on this program are a far cry from the inviting, folksy styles Isbin traversed in her Grammy-winning Dreams of a World. But don't be put off by the "contemporary" label: These are interesting and often beautiful works, thoughtfully and sensitively performed. Isbin is a true musical explorer, and we should not hesitate to go along for the ride. EJ Johnson
The New York TimesThere's something about the guitar that draws composers to local color. For Christopher Rouse, this means a "Concert de Gaud? for guitar and orchestra that opens and closes with big flamenco flourishes, with swatches of bright, romantic orchestral color alternating with glissando effects evoking the organic, unexpected curves of the buildings of Antonio Gaud? the great Catalan architect. And for Tan Dun, it means echoes of the pipa, the Chinese lute, in his guitar concerto, Yi2, which brandishes a panoply of whispering percussion, against which the guitar notes play like the plash of a waterfall in a Chinese garden. Anne Midgette
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发表于 2004-1-30 20:52:00
