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U4
U1
ECM New Ser i es 2157
476 4501
Gar t h Knox Sal t ar el l o
Agnès Vest er man Syl vai n Lemêt r e
e
U2
1
Sal t ar el l o
Gar t h Knox
vi ol a, vi ol a d’amor e, f i ddl e
Agnès Vest er man
vi ol oncel l o
Syl vai n Lemêt r e
per cussi on
U2
1
Sal t ar el l o
Gar t h Knox
vi ol a, vi ol a d’amor e, f i ddl e
Agnès Vest er man
vi ol oncel l o
Syl vai n Lemêt r e
per cussi on
3
2
1
Bl ack Br i t t any
4 : 00
based on t he t r adi t i onal Bl ack i s t he Col our of my
Tr ue
Love’ s Hai r and Leavi ng Br i t t any
by Johnny Cunni ngham
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Henr y Pur cel l
( 1659 – 1695)
2
Musi c f or a Whi l e
3 : 29
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Ant oni o Vi val di
( 1678 – 1741)
3 – 5
Concer t o f or vi ol a d’amor e i n d_ mi nor
RV 393 I Al l egr o 3 : 23
I I Lar go 2 : 1 9
I I I Pr est o 3 : 45
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Gar t h Knox
( * 1956)
6
Fuga l i br e
7 : 41
f or vi ol a sol o I n memor y of Rut h I nez Apt homas
Hi l degar d von Bi ngen ( 1098 – 1179)
Gui l l aume de Machaut ( ca. 1300 – 1377)
7
Ave, gener osa
7 : 22
Tel s r i t au ma[ t] i n qui au soi r pl eur e
ar r anged f or f i ddl e and per cussi on
Kai j a Saar i aho
( * 1952)
8
Vent noct ur ne
I. Sombr es mi r oi r s ( Dar k Mi r r or s) 6 : 58
f or vi ol a and el ect r oni cs
For Gar t h
John Dowl and
( 1563 – 1626)
9
Fl ow my Tear s
4 : 03
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Kai j a Saar i aho
10
Vent noct ur ne
I I. Soupi r s de l ’obscur ( Br eat hs of t he Obscur e) 5 : 49
f or vi ol a and el ect r oni cs
For Gar t h
1 1
Thr ee Dances
( 14t h cent ur y) 5 : 48
Sal t ar el l o I – Ghaet t a – Sal t ar el l o I I ar r anged f or f i ddl e and per cussi on
12
Pi pe, Har p and Fi ddl e
5 : 1 6
based on t he t r adi t i onal s Por t na bPúcai
, Chant er ’ s Song
and St ar of t he Count y Down
ar r anged f or f i ddl e and per cussi on
Al l ar r angement s by Gar t h Knox
3
2
1
Bl ack Br i t t any
4 : 00
based on t he t r adi t i onal Bl ack i s t he Col our of my
Tr ue
Love’ s Hai r and Leavi ng Br i t t any
by Johnny Cunni ngham
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Henr y Pur cel l
( 1659 – 1695)
2
Musi c f or a Whi l e
3 : 29
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Ant oni o Vi val di
( 1678 – 1741)
3 – 5
Concer t o f or vi ol a d’amor e i n d_ mi nor
RV 393 I Al l egr o 3 : 23
I I Lar go 2 : 1 9
I I I Pr est o 3 : 45
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Gar t h Knox
( * 1956)
6
Fuga l i br e
7 : 41
f or vi ol a sol o I n memor y of Rut h I nez Apt homas
Hi l degar d von Bi ngen ( 1098 – 1179)
Gui l l aume de Machaut ( ca. 1300 – 1377)
7
Ave, gener osa
7 : 22
Tel s r i t au ma[ t] i n qui au soi r pl eur e
ar r anged f or f i ddl e and per cussi on
Kai j a Saar i aho
( * 1952)
8
Vent noct ur ne
I. Sombr es mi r oi r s ( Dar k Mi r r or s) 6 : 58
f or vi ol a and el ect r oni cs
For Gar t h
John Dowl and
( 1563 – 1626)
9
Fl ow my Tear s
4 : 03
ar r anged f or vi ol a d’amor e and vi ol oncel l o
Kai j a Saar i aho
10
Vent noct ur ne
I I. Soupi r s de l ’obscur ( Br eat hs of t he Obscur e) 5 : 49
f or vi ol a and el ect r oni cs
For Gar t h
1 1
Thr ee Dances
( 14t h cent ur y) 5 : 48
Sal t ar el l o I – Ghaet t a – Sal t ar el l o I I ar r anged f or f i ddl e and per cussi on
12
Pi pe, Har p and Fi ddl e
5 : 1 6
based on t he t r adi t i onal s Por t na bPúcai
, Chant er ’ s Song
and St ar of t he Count y Down
ar r anged f or f i ddl e and per cussi on
Al l ar r angement s by Gar t h Knox
4
5
4
5
6
7
6
7
8
9
For Li ght ness and Cl ar i t y
“ Sal t ar el l o” i s a mobi l e st r uct ur e of musi cal “snapshot s” t aken f r om near l y one t housand year s of musi c. Each of my i nst r ument s – medi -
eval f i ddl e, vi ol a d’amor e and vi ol a – br i ngs i t s own per spect i ve and sound wor l d t o t he chosen pi eces, and i s compl ement ed by i t s cor r espondi ng par t ner ( f i ddl e / per cussi on, vi ol a d’amor e / cel l o and vi ol a / el ect r oni cs). But as wel l as “t r avel l i ng” t o vi si t and di scover t hese di st ant t i mes and pl aces, t he ai m was t o “br i ng back” t he pi eces t o t he pr esent day and t o expl or e t hem her e and now wi t hout dest r oy- i ng t hei r i nher ent qual i t i es. For t hi s r eason an aest het i c or der was pr ef er r ed t o pur e chr onol ogy, i n t he hope t hat t he pi eces’ “nei gh
-
bour s” woul d shed l i ght on t he si mi l ar i t i es and di f f er ences bet ween t hem.
Bl ack i s t he Col our of my Tr ue Love’ s Hai r
i s a t r adi t i onal I r i sh ai r whi ch so f asci nat ed t he I t al i an composer Luci ano Ber i o, t hat he made a f ol k/cont empor ar y ver si on of i t i n hi s Fol k Songs
f or voi ce and smal l ensembl e. Al ongsi de t hi s i s a “ t r adi t i onal ” t une, whi ch was act ual l y wr i t t en ver y r ecent l y by one of t he l eadi ng Scot t i sh f i ddl er s, Johnny Cunni ngham, who di ed pr emat ur el y a f ew year s ago. Cel t i c f ol k musi c i s one of t he hi dden t hr eads whi ch r un t hr ough t hi s CD – i t r esur f aces on medi eval f i ddl e i n t he l ast t r ack, Pi pe, Harp and Fi ddl e
, and t her e ar e t r aces of i t on vi ol a i n Fuga l i bre.
I n our ver si on of Pur cel l ’s Musi c f or a Whi l e
t he cel l o begi ns by l ayi ng down t he wal ki ng bass l oop, and t he endl essl y i nvent i ve mel ody i s t aken by vi ol a d’amor e, but as t he pi ece pr ogr esses, t he r ol es ar e swi t ched so of t en t hat t he t wo i nst r ument s over l ap, mer ge and become one. The answer i ng compani on pi ece t o t hi s i s John Dowl and’s Fl ow my Tear s
whi ch comes bet ween t he t wo par t s of Vent noct urne
. The t hr ee st r ophes ar e f i r st “sung” by t he cel l o, f ol l owed each t i me by a f r ee i nst r ument al comment ar y on vi ol a d’amor e, as was st andar d pr ac
-
t i ce f or El i zabet han l ut e pl ayer s at t he t i me of Shakespear e.
I n r ecent year s, t he t endency i n bar oque musi c has been t o r educe t he number of pl ayer s i n or der t o gai n l i ght ness and cl ar i t y. Taki ng t hi s i dea t o t he l i mi t, we pr esent her e a Vi val di concer t o r educed t o i t s bar e essent i al s – t he mel odi c/har moni c vi ol a d’amor e l i ne and i t s compl ement ar y bass pl ayed on cel l o. I n t hi s i nt i mat e chamber ver si on, t he spont anei t y and pur i t y of Vi val di ’s t hi nki ng i s even mor e ast oni sh-
i ng. The l i nk f r om Vi val di t o moder n t i mes i s pr ovi ded by Fuga l i bre
f or vi ol a. Thi s f r ee f ant asy, whi ch begi ns hesi t ant l y i n a ki nd of bar oque j az z st yl e, bui l ds up moment um unt i l a vor t ex pul l s i t i nt o a “cr ash” af t er whi ch hi gh and l ow not es ar e separ at ed i nt o di f f er ent uni ver ses. I n t he sl ow cent r al sect i on we hear t hem evol vi ng i n t hei r par al l el wor l ds unt i l t he f i nal sect i on r euni t es t hem and t hey r un away t oget her i n a br eat hl ess gal l op.
The ol dest pi ece i n t he col l ect i on, Hi l degar d von Bi ngen’s song of pr ai se t o t he Vi r gi n Mar y i s t r eat ed her e as a gr adual l y expandi ng i nst r ument al comment ar y. I t l i nks di r ect l y i nt o a song by Gui l l aume de Machaut, so when t he per cussi on makes i t s ent r y we i n ef f ect move f or war d by t wo cent ur i es, f r om a_ cappel l a r el i gi ous ecst asy t o t he t i me of cour t l y l ove and t he f or war d_ l ooki ng, al most r omant i c pl ai nt e, “ Who l aughs i n t he mor ni ng, wi l l cr y i n t he eveni ng“.
8
9
For Li ght ness and Cl ar i t y
“ Sal t ar el l o” i s a mobi l e st r uct ur e of musi cal “snapshot s” t aken f r om near l y one t housand year s of musi c. Each of my i nst r ument s – medi -
eval f i ddl e, vi ol a d’amor e and vi ol a – br i ngs i t s own per spect i ve and sound wor l d t o t he chosen pi eces, and i s compl ement ed by i t s cor r espondi ng par t ner ( f i ddl e / per cussi on, vi ol a d’amor e / cel l o and vi ol a / el ect r oni cs). But as wel l as “t r avel l i ng” t o vi si t and di scover t hese di st ant t i mes and pl aces, t he ai m was t o “br i ng back” t he pi eces t o t he pr esent day and t o expl or e t hem her e and now wi t hout dest r oy- i ng t hei r i nher ent qual i t i es. For t hi s r eason an aest het i c or der was pr ef er r ed t o pur e chr onol ogy, i n t he hope t hat t he pi eces’ “nei gh
-
bour s” woul d shed l i ght on t he si mi l ar i t i es and di f f er ences bet ween t hem.
Bl ack i s t he Col our of my Tr ue Love’ s Hai r
i s a t r adi t i onal I r i sh ai r whi ch so f asci nat ed t he I t al i an composer Luci ano Ber i o, t hat he made a f ol k/cont empor ar y ver si on of i t i n hi s Fol k Songs
f or voi ce and smal l ensembl e. Al ongsi de t hi s i s a “ t r adi t i onal ” t une, whi ch was act ual l y wr i t t en ver y r ecent l y by one of t he l eadi ng Scot t i sh f i ddl er s, Johnny Cunni ngham, who di ed pr emat ur el y a f ew year s ago. Cel t i c f ol k musi c i s one of t he hi dden t hr eads whi ch r un t hr ough t hi s CD – i t r esur f aces on medi eval f i ddl e i n t he l ast t r ack, Pi pe, Harp and Fi ddl e
, and t her e ar e t r aces of i t on vi ol a i n Fuga l i bre.
I n our ver si on of Pur cel l ’s Musi c f or a Whi l e
t he cel l o begi ns by l ayi ng down t he wal ki ng bass l oop, and t he endl essl y i nvent i ve mel ody i s t aken by vi ol a d’amor e, but as t he pi ece pr ogr esses, t he r ol es ar e swi t ched so of t en t hat t he t wo i nst r ument s over l ap, mer ge and become one. The answer i ng compani on pi ece t o t hi s i s John Dowl and’s Fl ow my Tear s
whi ch comes bet ween t he t wo par t s of Vent noct urne
. The t hr ee st r ophes ar e f i r st “sung” by t he cel l o, f ol l owed each t i me by a f r ee i nst r ument al comment ar y on vi ol a d’amor e, as was st andar d pr ac
-
t i ce f or El i zabet han l ut e pl ayer s at t he t i me of Shakespear e.
I n r ecent year s, t he t endency i n bar oque musi c has been t o r educe t he number of pl ayer s i n or der t o gai n l i ght ness and cl ar i t y. Taki ng t hi s i dea t o t he l i mi t, we pr esent her e a Vi val di concer t o r educed t o i t s bar e essent i al s – t he mel odi c/har moni c vi ol a d’amor e l i ne and i t s compl ement ar y bass pl ayed on cel l o. I n t hi s i nt i mat e chamber ver si on, t he spont anei t y and pur i t y of Vi val di ’s t hi nki ng i s even mor e ast oni sh-
i ng. The l i nk f r om Vi val di t o moder n t i mes i s pr ovi ded by Fuga l i bre
f or vi ol a. Thi s f r ee f ant asy, whi ch begi ns hesi t ant l y i n a ki nd of bar oque j az z st yl e, bui l ds up moment um unt i l a vor t ex pul l s i t i nt o a “cr ash” af t er whi ch hi gh and l ow not es ar e separ at ed i nt o di f f er ent uni ver ses. I n t he sl ow cent r al sect i on we hear t hem evol vi ng i n t hei r par al l el wor l ds unt i l t he f i nal sect i on r euni t es t hem and t hey r un away t oget her i n a br eat hl ess gal l op.
The ol dest pi ece i n t he col l ect i on, Hi l degar d von Bi ngen’s song of pr ai se t o t he Vi r gi n Mar y i s t r eat ed her e as a gr adual l y expandi ng i nst r ument al comment ar y. I t l i nks di r ect l y i nt o a song by Gui l l aume de Machaut, so when t he per cussi on makes i t s ent r y we i n ef f ect move f or war d by t wo cent ur i es, f r om a_ cappel l a r el i gi ous ecst asy t o t he t i me of cour t l y l ove and t he f or war d_ l ooki ng, al most r omant i c pl ai nt e, “ Who l aughs i n t he mor ni ng, wi l l cr y i n t he eveni ng“.
10
11
Kai j a Saar i aho’s wor k ( wr i t t en near l y 900 year s af t er Hi l degar d’s) expl or es t he sound t he bow pr oduces when i t i s dr awn acr oss a st r i ng, a sof t br eat hy sound, l i ke br eat hi ng or wi nd. I n Vent noct urne
t hi s “whi t e” bow noi se i s ampl i f i ed and mul t i pl i ed by el ect r oni cs and woven i nt o a t i ssue wi t h t he composer ’s own br eat hi ng sounds and some el ect r oni c wi nd_ har p ef f ect s. The sol i t ar y vi ol a l i ne cr osses t hi s wi nd_ swept ar ct i c l andscape si ghi ng and sl owl y descendi ng i n an endl ess gl i ssando. Pi t ch becomes br eat h, br eat h bl ows i nt o wi nd, wi nd swi r l s i nt o musi c.
The sal t ar el l o was a l i vel y, medi eval dance named f or i t s pecul i ar l eapi ng st ep ( f r om t he I t al i an “sal t ar e” – t o j ump). Our f i r st Sal t arel l o
has a smal l “ f r ee” bar whi ch comes r ound ever y t i me t he t une i s about t o r epeat. We made t hi s mor e obvi ous by maki ng i t l ast pr o- gr essi vel y l onger each t i me i t occur s, and mor e and mor e f r ee unt i l i t t ur ns i nt o a nat ur al l i nk t o t he second dance, Ghaet t a. Thi s “est am-
pi e” has t he f eel of st ampi ng f eet, pr ovi di ng a nat ur al f oot hol d f or per cussi on, and t he f i nal Sal t arel l o de l a pi oggi a
has i t s pl ace as a compl i ment ar y but cont r ast i ng answer t o t he f i r st Sal t arel l o
. I n t he f i nal t r ack, we r et ur n t o t he openi ng f ol k t hr ead, and pay homage t o t he t hr ee mai n i nst r ument s of Cel t i c musi c – t he bagpi pes, t he har p and t he f i ddl e ( wi t h per cussi on of cour se!). These can al l be i mi t at ed on t he f i ddl e – especi al l y t he medi eval f i ddl e as pl ayed her e, wi t h i t s f l at br i dge f or t he dr ones i n pi pe musi c, i t s beaut i f ul l y wooden pi z zi cat os l i ke t he har p, and i t s r aspi ng gut _ st r i nged edge f or t he r ust i c f i ddl e st yl e. Gar t h Knox
10
11
Kai j a Saar i aho’s wor k ( wr i t t en near l y 900 year s af t er Hi l degar d’s) expl or es t he sound t he bow pr oduces when i t i s dr awn acr oss a st r i ng, a sof t br eat hy sound, l i ke br eat hi ng or wi nd. I n Vent noct urne
t hi s “whi t e” bow noi se i s ampl i f i ed and mul t i pl i ed by el ect r oni cs and woven i nt o a t i ssue wi t h t he composer ’s own br eat hi ng sounds and some el ect r oni c wi nd_ har p ef f ect s. The sol i t ar y vi ol a l i ne cr osses t hi s wi nd_ swept ar ct i c l andscape si ghi ng and sl owl y descendi ng i n an endl ess gl i ssando. Pi t ch becomes br eat h, br eat h bl ows i nt o wi nd, wi nd swi r l s i nt o musi c.
The sal t ar el l o was a l i vel y, medi eval dance named f or i t s pecul i ar l eapi ng st ep ( f r om t he I t al i an “sal t ar e” – t o j ump). Our f i r st Sal t arel l o
has a smal l “ f r ee” bar whi ch comes r ound ever y t i me t he t une i s about t o r epeat. We made t hi s mor e obvi ous by maki ng i t l ast pr o- gr essi vel y l onger each t i me i t occur s, and mor e and mor e f r ee unt i l i t t ur ns i nt o a nat ur al l i nk t o t he second dance, Ghaet t a. Thi s “est am-
pi e” has t he f eel of st ampi ng f eet, pr ovi di ng a nat ur al f oot hol d f or per cussi on, and t he f i nal Sal t arel l o de l a pi oggi a
has i t s pl ace as a compl i ment ar y but cont r ast i ng answer t o t he f i r st Sal t arel l o
. I n t he f i nal t r ack, we r et ur n t o t he openi ng f ol k t hr ead, and pay homage t o t he t hr ee mai n i nst r ument s of Cel t i c musi c – t he bagpi pes, t he har p and t he f i ddl e ( wi t h per cussi on of cour se!). These can al l be i mi t at ed on t he f i ddl e – especi al l y t he medi eval f i ddl e as pl ayed her e, wi t h i t s f l at br i dge f or t he dr ones i n pi pe musi c, i t s beaut i f ul l y wooden pi z zi cat os l i ke t he har p, and i t s r aspi ng gut _ st r i nged edge f or t he r ust i c f i ddl e st yl e. Gar t h Knox
12
U3
Recor ded December 2009
Audi t or i o Radi ot el evi si one svi z zer a, Lugano
Tonmei st er: St ephan Schel l mann
Cover Phot o: Jean_ Guy Lat hui l i èr e
Li ner Phot os: Dáni el Vass
Desi gn: Sascha Kl ei s
Pr oduced by Manf r ed Ei cher
An ECM Pr oduct i on
I n col l abor at i on wi t h RSI Ret e Due, Lugano
> 2012 ECM Recor ds GmbH
< 2012 ECM Recor ds GmbH
www.ecmr ecor ds.com
12
U3
Recor ded December 2009
Audi t or i o Radi ot el evi si one svi z zer a, Lugano
Tonmei st er: St ephan Schel l mann
Cover Phot o: Jean_ Guy Lat hui l i èr e
Li ner Phot os: Dáni el Vass
Desi gn: Sascha Kl ei s
Pr oduced by Manf r ed Ei cher
An ECM Pr oduct i on
I n col l abor at i on wi t h RSI Ret e Due, Lugano
> 2012 ECM Recor ds GmbH
< 2012 ECM Recor ds GmbH
www.ecmr ecor ds.com
U4
U1
ECM New Ser i es 2157
476 4501
Gar t h Knox Sal t ar el l o
Agnès Vest er man Syl vai n Lemêt r e
e
Автор
opera-d
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