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2016北京国际作曲大师班系列音乐会

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  多伦多乐团专场音乐会

  New Music Concerts Ensemble (Toronto).

  菲利普•勒鲁科斯

  Philippe Leroux

  AAA

  AAA

  为长笛、单簧管、小提琴、中提琴、大提琴、 钢琴和打击乐而作

  For flute, clarinet, violin, viola, cello, piano and percussion

  安东尼•坦

  Anthony Tan

  乐句观察

  Observing the Ph(r)ase

  长笛、双簧管、单簧管、打击乐、钢琴、小提琴、 中提琴、大提琴

  Doubling flute, doubling oboe, doubling clarinet, percussion, piano, violin, viola, cello

  布莱恩•库伦

  Brian Current

  呐喊、西西弗斯、鸟群

  Shout, Sisyphus, Flock

  长笛、单簧管、打击乐、钢琴、小提琴、大提琴

  Doubling flute, doubling clarinet, percussion, piano, violin, cello

  基思•哈默尔

  Keith Hamel

  梦想者

  Dreamer 长笛、双簧管、单簧管、打击乐、钢琴、小提琴、 中提琴、大提琴

  Doubling flute, oboe, clarinet, percussion, piano, violin, viola, cello

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  奥马尔•丹尼尔

  Omar Daniel

  第二室内协奏曲

  Chamber Concerto No.2

  长笛、双簧管、单簧管、打击乐、钢琴、小提琴、 中提琴、大提琴

  For flute, oboe, clarinet, percussion, piano, violin, viola, cello

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  特邀中提琴

  Guest Violist

  邱奕枫

  QIOU YIfeng

  演奏

  PERFORMANCE

  多伦多新乐团

  New Music Concerts Ensemble (Toronto)

  指挥 Conductor

  长笛 Flute 双簧管 Oboe 单簧管 Clarinet 钢琴 Piano

  打击乐 Percussion 小提琴 Violin 中提琴 Viola 大提琴 Cello

  罗伯特 • 艾特肯教授

  Prof. Robert Aitken

  戴安娜 • 艾特肯女士

  Ms. Dianne Aitken

  基思 • 艾特肯森先生

  Mr. Keith Atkinson

  马克斯 • 克力丝汀先生

  Mr. Max Christie

  斯蒂芬 • 克拉克先生

  Mr. Stephen Clarke

  理查德 • 萨斯先生

  Mr. Richard Sacks

  科里 • 盖默先生

  Mr. Corey Gemmell

  道格拉斯 • 佩瑞

  Mr. Douglas Perry

  保罗 • 温德耐

  Mr. Paul Widner

  AAA

  AAA (1996)

  菲利普•勒鲁科斯

  Philippe Leroux

  这部作品于 1996 年为长笛、单簧管、 小提琴、中提琴、大提琴、钢琴和打击乐 而作,作品最初是通过设象拉莫所使用的 乐器法,为四台木管 MIDI 控制器(电子 乐器)创作。该理念严格地尊重最初的均 分,将世界上的电子声音转为乐器领域的 声音的一种调换的音乐行为。但是,正如 在这种类型的许多其它作品那样,在某些 方面很明显有些过剩,那么这部作品需要 新的自创。的确,乐器技术引发了电子领 域中所不包含的音乐性。除了其它方面, 我想要从我青少年弹奏爵士的过程中寻找 一些熟悉的声音。如果作品的的轮廓和总 体结构一致的话,就会产生不同的音乐语 言。一方面,耳朵对音色、力度形态以及 和声色彩非常敏感。另一方面,传统的长 笛、单簧管、小提琴……以及音高的优势 都强调句法因素。在这两部作品中,虽然 音乐是相同的,但表达的却是不同的内容。 乐曲开始的部分,取自拉莫的竖琴作品《La Poule》,并发展贯穿了整部作品。《AAA》 这部作品由阿斯 • 摩比利斯委约创作, 于 1998 年 1 月 16 日在法国杜埃竞技场 的 l'Ensemble Ictus 首演,乔治 • 埃利奥 科特斯指挥。在 2015 年 12 月 6 日首次 在加拿大多伦多的新音乐会(New Music Concerts)演出。

  Written in 1996 for flute, clarinet, violin, viola, cello, piano and percussion, this piece is originally an instrumentation of Image à Rameau, composed for four wind MIDI controllers (electronic instruments). The idea is to transpose musical behaviours from the world of electronic sounds to the instrumental field while strictly respecting the initial partition. But, as in any project of this kind, there is obviously overflowing in a way that the piece acquires a new autonomy. Indeed, the instrumental techniques induce musicality that is not contained in the electronic model. I wanted, among others things, to find some familiar sounds from my teenage years when I was playing jazz. If the shape and overall structure of the piece remain the same, it is not the same musical language. In one case, the ear focuses on timbres, on the dynamic morphology and on the harmonic colors. In another case, the traditional sounds of the flute, the clarinet, the violin... and the predominance of pitches emphasize the syntactic aspect. In both pieces, it is indeed the same music, but does not express the same thing. The initial pattern, developed throughout the work, is extracted from the harpsichord piece La Poule by Jean-Philippe Rameau. AAA was commissioned by Ars Mobilis and premiered by l'Ensemble Ictus, conducted by Georges-Elie Octors, on January 16, 1998 at the Hippodrome in Douai, France. It was first performed by New Music Concerts in Toronto on December 6, 2015.

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  乐句观察

  Observing the Ph(r)ase (2013)

  安东尼•坦

  Anthony Tan

  这是 Recherche 乐团的委约作品。 本作品涉及音乐中一些自相矛盾的场面。 我试着写出动机、修辞和氛围并峙或同时 出现的乐句。

  “雪是热的”

  Commissioned by Ensemble Recherche, this work explores paradoxical musical situations. I attempted to create musical phrases such that musical gesture, rhetoric and ambient situations are juxtaposed and possibly simultaneously presented.

  "this is warm snow"

  呐喊、西西弗斯、鸟群

  Shout, Sisyphus, Flock (2016)

  布莱恩•库伦

  Brian Current

  《呐喊、西西弗斯、鸟群》是由加拿 大艺术委员会资助,蒙特利尔 Transmission 乐团(与多伦多新乐团合作)委约的作品。 顾名思义,它由 4 分钟左右的三个乐章组 成。

  第一乐章“呐喊”,木管富有色彩的 渐强和乐队明亮的音色交叠,在结尾处, 各声部升得更高、织体更明亮。

  第二乐章“西西弗斯”,上升和下降 的织体机械地连在一起。正如西西弗斯的 神话一样,这些音型唤起鸟儿艰难起飞, 又跌倒的挫败感。

  第三乐章“鸟群”,持续音织体伴随 着像鸟扑动翅膀一样的管乐和弦乐颤音。 我的兴趣不是模仿实际的鸟群,而是营造 一种梦境般的氛围,扑动的音型时隐时现。

  感谢 Transmission 乐团;感谢洛兰•维 朗古对本作品以及乐团的支持;感谢多伦 多新乐团的委约。

  Shout, Sisyphus, Flock was commissioned by Montreal’s Transmission Ensemble (in association with New Music Concerts, Toronto) with funds from the Canada Council for the Arts. As the title suggests, there are three movements of about 4 minutes each,each based on words I taped to the piano early in the composing process (Shout, Sisyphus and Flock) that I hoped described the feeling of each movement I was trying to write.

  In the first, Shout, I was interested in colouring crescendos in the woodwinds with bright overlapping patterns in the ensemble. Towards the end, everything rises to even brighter, higher textures.

  The second movement, Sisyphus, features rising and falling textures that are inexorably linked to one another. Like the myth of Sisyphus, the gestures evoke the frustration of an inevitable tumble that follows every hard-fought rise.

  The third movement, Flock, features droning textures that give way to flutter- like tremolos in the winds and strings. Rather than imitating an actual flock of birds, I was more interested in creating a dreamlike and intimate atmosphere, where fluttering gestures come and go.

  With great thanks to the Transmission Ensemble and Lorraine Vaillancourt for their work on this music and for Transmission and New Music Concerts’ commission of this piece.

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP

  2016 北京国际作曲大师班

  梦想者

  Dreamer (2016)

  基思•哈默尔

  Keith Hamel

  《 梦 想 者 (Dreamer)》 这 部 作 品 基 于我对两种来源的材料进行的解构。第一 类材料是马丁 • 路德 • 金于 1963 年在华 盛顿林肯纪念堂发表的著名演讲——“我 有 一 个 梦 想(I Have a Dream)”。 第 二类是约翰 • 列侬于 1971 年创作的歌曲

  《想象(Imagine)》。从这两位人物和 他们所传递的信息中能发现强烈的联系。 这两位人物都梦想着在未来的世界中,所 有的人都能拥有和平、宽容和平等,他们 希望这个梦想能成为现实。这两位都是活 动家以及和平主义者,并且都被谋杀。从 这两位开始想象他们更好的世界开始,已 经半个世纪过去了,然而世界上可能比以 往存在更多的冲突、不公正和狭隘。

  我对马丁 • 路德 • 金的演讲和约翰 • 列侬的音乐进行了光谱分析。这些音波结 构形成了《梦想者》整首乐曲的和声及旋 律材料。你可能会听到马丁 • 路德 • 金 在演讲中的声音轮廓以及约翰 • 列侬的音 乐中的和声这两类材料中的某些模糊部分 在乐曲中出现,但是这些部分已经被模糊 化或扭曲了——就像是他们的梦想被几十 年的战争和憎恶所遮蔽。尽管如此,我们 要继续拥有一个更好的世界的梦想不能改 变,这点很重要。正如约翰 • 列侬所说, “你可以说我是一个梦想者,但我不是唯 一的梦想者。我希望有一天你会加入我们, 世界将成为我们共同的家园。”

  Dreamer is based on material deconstructed from two sources. The first is the 1963 speech given by Dr. Martin Luther King Jr. at the Lincoln Memorial – the famous “I Have a Dream” speech. The second is the 1971 song Imagine by John Lennon. There is a strong connection between these two men and their messages. Both dreamed of a future world where peace, tolerance and equality among all people would become a reality. Both were activists and pacifists, and both were murdered. It is now almost half a century since these men imagined their better world, yet there is probably more conflict, injustice and intolerance in the world than ever.

  I performed spectral analyses of Martin Luth er King’s s peech an d John Lennon’s music. These sonic structures form the harmonic and melodic material used throughout Dreamer. You might hear vague references to the melodic contours of King’s speech or to the harmonies of Lennon’s music, but these references are heavily obscured and distorted – much like their dreams that have become obfuscated by decades of war and hatred. Despite this, it is important that we continue to dream of a better world. As John Lennon says, “You might say I’m a dreamer, but I’m not the only one. I hope one day you’ll join us and the world will live as one.”

  第二室内协奏曲

  Chamber Concerto No.2 (2016)

  奥马尔•丹尼尔

  Omar Daniel

  第一乐章:托卡塔-野蛮的快板 第二乐章:挽歌-柔板;遥远地 第三乐章:单声-闪耀的急板

  《第二室内协奏曲》是我专门献给罗 伯特•艾特肯和他的新乐团的第四部作品。 我对协奏曲形式抱有极大兴趣,已经写了 包括一部室内协奏曲和一部乐队协奏曲在 内的七部协奏曲。多伦多新乐团编制小巧, 但提出了与我目前写的大型协奏曲不同的 新挑战。前人有一些类似作品,如利盖蒂 的《室内协奏曲》和库尔塔格的《斯蒂芬 的墓碑》

  I Toccata- Allegro Barbaro; II Elegia- Lento; da lontano; III Monody- Presto scintillare

  Chamber Concerto no. 2 is my fourth work written specifically for, and dedicated to, Robert Aitken and the musicians of New Music Concerts.My keen interest in the concerto idiom has resulted in seven concertos, including a chamber concerto and concerto for orchestra. The NMC ensemble is compact, but presents interesting challenges that are different from the large-scale concertos that I have written up until now. And, there are precedents for this in the literature: Ligeti’s Chamber Concerto and Kurtag’s Grabstein fur Sephan, for example.

  在构思“协奏曲”时,巴托克浮现在 我脑海里。他的《乐队协奏曲》影响了我 几十年。2013 年我写了《情侣游戏》, 直接引用了巴托克《乐队协奏曲》的第二 乐章。我的《第二室内协奏曲》是基于协 奏曲的概念,但乐队编制不大,是中型的。 于是听众会听到不同独奏或独奏组乐器的 组合,往往是炫技性质的。这模仿了巴罗 克大协奏曲的原则,这部作品的确用了很 多巴罗克风格的织体和节奏。

  In relation to the idea of ‘concerto,’ Bartok comes to mind. His Concerto for Orchestra has influenced me over decades, and in 2013 I wrote Giuoco delle Coppie, the title being a direct reference to the second movement of Bartok’s work. My Chamber Concerto no. 2 plays upon the idea of a concerto, but for a moderately sized group of instrument rather than full orchestra. So, the listener will hear different combinations of instruments as individual soloists or groups of soloists, often used in quite a virtuosic manner. This mimics the principle of the baroque concerto grosso, and indeed my work uses textures and rhythms that may well remind one of the Baroque style.

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