05-苏黎世室内乐团 超越巴赫
艺术家：阿拉什·萨法ian、塞巴斯蒂安·克瑙尔、帕斯卡尔·舒马赫与苏黎世室内乐团
标题：苏黎世室内乐团 超越巴赫（ÜberBach）
发行年份：2016年
厂牌：新大师（Neue Meister）
流派：古典
音质：flac无损格式 / 24位-96.0千赫兹 + 小册子
总时长：00:57:41
总大小：306兆字节 / 1.1千兆字节
网站：专辑预览
曲目列表
---------
01. 第一协奏曲《无限游戏》：I. 哈利路亚（改编自康塔塔《有一婴孩为我们而生》BWV 142 阿利路亚）
02. 第一协奏曲《无限游戏》：II. C大调卡农（改编自八部和声卡农 BWV 1072）
03. 第一协奏曲《无限游戏》：III. 空集（改编自康塔塔《但要抵挡罪恶》BWV 54 咏叹调）
04. 第一协奏曲《无限游戏》：IV. C大调前奏曲（改编自《威廉·弗里德曼·巴赫键盘小曲集》C大调前奏曲 BWV 924）
05. 第一协奏曲《无限游戏》：V. 悬停（改编自《约翰受难曲》BWV 245 合唱第27b段“不要分开我们”）
06. 第二协奏曲《上如之下》：I. 福利亚舞曲（拼贴改编自康塔塔《我曾多有愁苦》BWV 21、《平均律键盘曲集》第一卷c小调前奏曲 BWV 847、《约翰受难曲》BWV 245 合唱第2d段“拿撒勒人耶稣”）
07. 第二协奏曲《上如之下》：II. 交响曲（改编自康塔塔《我曾多有愁苦》BWV 21 交响曲）
08. 第二协奏曲《上如之下》：III. c小调前奏曲（改编自《平均律键盘曲集》第一卷c小调前奏曲 BWV 847）
09. 转调：循环巴赫
10. 第三协奏曲《如受难曲的赋格》：I. G大调卡农（改编自七声部《时过境迁》作品 BWV 1078 法米卡农）
11. 第三协奏曲《如受难曲的赋格》：II. 小G（改编自g小调管风琴赋格曲 BWV 578“小赋格”）
12. 第四协奏曲《牛顿定律》：I. 众赞歌前奏曲（改编自管风琴众赞歌前奏曲《主啊，如今求你打开天门》BWV 617）
13. 第四协奏曲《牛顿定律》：II. 第XX号赋格（改编自《平均律键盘曲集》第二卷a小调赋格曲 BWV 889）
14. 第五协奏曲《多里安》：I. 咏叹调（改编自康塔塔《愉悦的安宁，亲爱的灵魂之乐》BWV 170 咏叹调）
15. 第五协奏曲《多里安》：II. 托卡塔（改编自d小调管风琴托卡塔“多里安” BWV 538）
音乐是一场无限的游戏，永远不会终结。这场游戏的无形轮廓源自共鸣的物理法则，在声音的空间与体量中编织成型。音乐的坐标无法定义，它的诉说只在奏响的瞬间被感知。作曲是一场用音符、节奏、声响和时长进行的想象游戏，旨在构建内心的对话。它依托无限可变的语法，在游戏场中确立规则，却又在下一场游戏中质疑规则。因此，音乐描绘着我们的内在本质：它是情感的数学。1712年，莱比锡哲学家、数学家、与巴赫同时代的戈特弗里德·威廉·莱布尼茨曾精彩地阐释音乐的本质：“音乐是未察觉自己具备计算能力的智慧所进行的隐秘算术。”这种对音乐的认知，将作曲家从音符工匠升华为深层非语言交互的记录者。或许，音乐是揭示一个时代或个人态度与视角最直接的媒介。无怪乎诗人克里斯蒂安·弗里德里希·丹尼尔·舒巴特会如此评价约翰·塞巴斯蒂安·巴赫：“若说牛顿是世界的解读者，那么塞巴斯蒂安·巴赫就是音乐的创作者。”尽管J.S.巴赫可能对艾萨克·牛顿的成就知之甚少，但他对待音乐的方式与牛顿对待科学如出一辙。两人都视世界为上帝赋予的统一体，而科学——音乐亦属其中——为破译世界提供了途径。因此，巴赫的音乐如同牛顿的万有引力定律般具有普世性。对我而言，巴赫的作品堪称最纯粹的音乐形态，即便在他最私密的创作中，也始终蕴含着属于全人类的共通性，而非个人独白。我总觉得自己在聆听音乐的语法。正因如此，我决定重新诠释他的部分作品，以巴赫的音乐为灵感进行创作。这就如同凝视一幅风景，用自己的视角进行独特的解读。
Artist: Arash Safaian, Sebastian Knauer, Pascal Schumacher & Zürcher Kammerorchester
Title: ÜberBach
Year Of Release: 2016
Label: Neue Meister
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +booklet
Total Time: 00:57:41
Total Size: 306 mb / 1.1 gb
WebSite: Album Preview
Tracklist
---------
01. Concerto No. 1, "Infinite Games": I. Halleluja (After Alleluia, Cantata "Es Ist Uns Ein Kind Geboren", BWV 142)
02. Concerto No. 1, "Infinite Games": II. Canon in C (After Canon Trias Harmonica a 8, BWV 1072)
03. Concerto No. 1, "Infinite Games": III. Empty Set (After Aria, Cantata "Widerstehe doch der Sünde", BWV 54)
04. Concerto No. 1, "Infinite Games": IV. Prelude in C (After Prelude in C Major, Nine Little Preludes, Klavierbüchlein für Wilhelm Friedemann Bach, BWV 924)
05. Concerto No. 1, "Infinite Games": V. In Midair (After "Lasset uns nicht zerteilen", Chorus 27b, Johannes-Passion, BWV 245)
06. Concerto No. 2, "As Above so Below": I. Folia (Collage After Cantata "Ich hatte viel Bekümmernis" BWV 21, Prelude C Minor, Welltempered Clavier Book I, BWV 847 Chorus 2d, "Jesum von Nazareth", Johannes-Passion, BWV 245)
07. Concerto No. 2, "As Above so Below": II. Sinfonia (After Sinfonia, Cantata "Ich hatte viel Bekümmernis", BWV 21)
08. Concerto No. 2, "As Above so Below": III. Prelude in C Minor (After Prelude in C Minor, Well-Tempered Clavier Book I, BWV 847)
09. Modulation: Looping Bach
10. Concerto No. 3, "Fuge Like a Passion": I. Canon in G (After Canon Super Fa Mi, a 7. Post Tempus Musicum, BWV 1078)
11. Concerto No. 3, "Fuge Like a Passion": II. Little G (After Organ Fugue in G Minor, BWV 578 "The Little")
12. Concerto No. 4, "Newton's Law": I. Choral Prelude (After Choral Prelude for Organ "Herr Gott, nun schleuß den Himmel auf", BWV 617)
13. Concerto No. 4, "Newton's Law": II. Fuga XX (After Fugue in A Minor, Well-Tempered Clavier Book II, BWV 889)
14. Concerto No. 5, "Dorian": I. Aria (After Aria, Cantata "Vergnügte Ruh, Beliebte Seelenlust", BWV 170)
15. Concerto No. 5, "Dorian": II. Toccata (After Organ Toccata in D Minor "Dorian", BWV 538)
Music is an infinite game. that can be played without ever coming to an end. A game that takes its invisible shape from the physical laws of resonance and is organized in the spaces and volumes of sound. The location of the music cannot be defined, its utterances can only be perceived at the moment they are made. Composing is a game of the imagination with notes, rhythms, sounds and durations, to formulate an inner dialogue. It draws on an infinitely variable grammar, which introduces its law to the field of play only to question it in the very next game. So it describes our inner nature: music is the mathematics of emotion. Writing in 1712, the Leipzig philosopher, mathematician and Bach contemporary Gottfried Wilhelm Leibniz wonderfully described the nature of music: “Music is the concealed arithmetic of an intelligence unaware of its ability to count”. This conception of music elevates the composer from a notesmith to the chronicler of deep non-verbal interactions. Perhaps music is the most immediate medium through which the attitudes and perspectives of a period or person are revealed. It comes as no surprise, then, that the poet Christian Friedrich Daniel Schubart could write of Johann Sebastian Bach: “What Newton was as an interpreter of the world, Sebastian Bach was as a composer”. Even if J.S. Bach may have known little or nothing of Isaac Newton’s achievement, Bach’s approach to music resembles that of Newton to science. Both saw the world as a God-given unity in which the sciences - to which music also belongs - furnish the means of its decipherment. Bach’s music is thus as universal as Newton’s law of gravitation. For me, Bach’s works are what you might call music in its purest form, which is always common to all, even in his most intimate works, rather than private. I always think I am hearing the grammar of music. That is why I have decided to reinterpret some of his works, to compose music about Bach’s music. That makes it like a view into a landscape that one’s own eye interprets in a certain way.
**** Hidden Message *****
页:
[1]