13-移动：智利中提琴与钢琴音乐2020 Hi-Res 24bits - 96.0kHz
艺术家：乔治娜·伊莎贝尔·罗西，西尔维·程
标题：移动：智利中提琴与钢琴音乐
发行年份：2020年
厂牌：New Focus Recordings
流派：室内乐，古典音乐
音质：无损弗拉科格式/24位-96.0千赫兹+小册子
总时长：1小时09分01秒
总大小：322兆字节/1.25千兆字节
网站：专辑预览
曲目列表
01. 会有人用双手托住这坠落吗
02. 在我遥远的深处浮现出你的家
03. 幻想曲，中提琴与钢琴，作品15号
04. 二重奏“不要温和地走进那个良夜”
05. 托洛洛（改编为中提琴与钢琴版）
06. 移动，作品63号 I. 柔韧
07. 移动，作品63号 II. 间断
08. 移动，作品63号 III. 循环
09. 移动，作品63号 IV. 永恒
10. 桑佩德里诺（改编为中提琴与钢琴版）
中提琴家乔治娜·罗西与钢琴家西尔维·程的专辑《移动》（*Mobili*）梳理了智利中提琴音乐五十年的创作脉络，展现了本土原住民元素与植根于20世纪中叶欧洲现代主义的世界主义美学之间的二元影响。专辑同名曲作者胡安·奥雷戈-萨拉斯在首次录音前十六天离世，为这张唱片增添了特殊的纪念意义——罗西与程将专辑献给他，作为对这位毕生致力于在美洲传播智利音乐的“大使”的致敬。
专辑以拉斐尔·迪亚兹的《会有人用双手托住这坠落吗？》开篇，这是全碟唯一的中提琴独奏作品。灵感源自安第斯中部佩文切人的仪式祷文，作品体现了其泛神论的生活哲学：自然与神灵交融共生。中提琴通过混响模拟在山野间独奏的空旷感，音乐素材交替呈现民族音乐学田野调查中的旋律片段，与营造冥想场景的中提琴演奏技法。迪亚兹的另一首作品《在我遥远的深处浮现出你的家》则是对童年记忆的温馨 sonic（声音）回溯——作曲家每日步行穿过满是动物的草原上学时，会吹起这段安慰性的旋律，其中一些动物还对他午餐袋里的食物格外感兴趣。
卡洛斯·博托·瓦利亚里诺是智利音乐会音乐界的关键人物，作为学者、教育家和作曲家深受爱戴。他在纽约以古根海姆奖学金跟随路易吉·达拉皮科拉学习，风格偏爱性格小品与自由演变的结构。他的《幻想曲》作品15号以中提琴沉思般的旋律开场，钢琴以渐强的氛围和弦耐心铺陈，直至最后几分钟才释放最富活力的段落：乐器间展开跳跃的对话，偶尔被钢琴宏大的和弦打断，呼应开篇的阴郁音色。
生于柏林、长于布宜诺斯艾利斯的费德里科·海因莱因，1940年定居智利前曾在阿根廷与欧洲辗转生活。他的音乐深受文学启发，如《二重奏“不要温和地走进那个良夜”》的副标题即化用迪伦·托马斯的诗句。作品以紧绷的宣叙性乐句开场，动机发展中透着晚期德国浪漫主义的严谨；抒情的第二主题区柔化了开篇的棱角，在主题再现后，以一段炫技性的尾声和号角般的声响结束。
大卫·科尔特斯的《托洛洛》是近十年内创作的两首作品之一，音乐致敬了他成长的圣地亚哥北部科金博地区，以及当地夜空的天文奇观。作曲家将素材处理方式与望远镜缩放时视觉信息的“遮蔽-揭示”建立隐喻：以中提琴的低音C弦为核心音，叠加滑音双音产生的微分音颤动、左手拨弦与动人颤音，构建层层张力；钢琴呼应中提琴的柔性姿态，微妙确立平均律框架，使滑音在音高间自然流动。乐曲的冥想性中途被钢琴断奏音阶引领的俏皮段落打破，最终以开篇素材闭环收尾。
胡安·奥雷戈-萨拉斯的四乐章作品《移动》聚焦而克制：首章“柔韧”中沉思性的音乐不时被钢琴有力的下行乐句打断；“间断”更显棱角，乐器间充满嬉戏性的互动；“循环”如缓慢的进行曲，钢琴旋律起初伴随中提琴轻柔的拨弦，旋律转移至中提琴后渐趋狂想，一段延展的中提琴独奏贡献了全曲最深情的表达；终章“永恒”充满动力，为这部结构均衡的作品画上句点。
作为Bonus（附赠）曲目的阿根廷作曲家卡洛斯·古斯塔维诺的《桑佩德里诺》，以迷人的旋律凸显了罗西与程的默契——优雅的音乐化学反应为专辑画上温馨注脚。
《移动》记录了智利中提琴与钢琴音乐的丰富图景，与其说展现了某种“国家性”的创作风格，不如说是一幅由欧洲现代主义、智利原住民音乐、本土生活与自然景观交织而成的星图。乔治娜·罗西以精准技法与穿透力的表达，搭配西尔维·程细腻的协奏，在多数时候将中提琴与钢琴置于平等对话的地位。这张专辑不仅是对智利音乐的热忱邀约，更是对这片土地上优秀作曲家及其传承的动人礼赞。
Artist: Georgina Isabel Rossi, Silvie Cheng
Title: Mobili: Music for Viola & Piano from Chile
Year Of Release: 2020
Label: New Focus Recordings
Genre: Chamber Music, Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:09:01
Total Size: 322 mb / 1.25 gb
WebSite: Album Preview
Tracklist
01. ?Habra? alguien que en sus manos sostenga este caer
02. Al fondo de mi lejani?a se asoma tu casa
03. Fantasi?a for Viola & Piano, Op. 15
04. Du?o for Viola & Piano “Do Not Go Gentle”
05. Tololo (Arr. Viola & Piano)
06. Mobili, Op. 63 I. Flessibile
07. Mobili, Op. 63 II. Discontinuo
08. Mobili, Op. 63 III. Ricorrente
09. Mobili, Op. 63 IV. Perpetuo
10. El Sampedrino (Arr. for Viola & Piano)
Georgina Isabel Rossi & Silvie Cheng - Mobili: Music for Viola & Piano from Chile (2020)
Violist Georgina Rossi and pianist Silvie Cheng’s Mobili chronicles five decades of Chilean music for viola, reflecting a dichotomy of influences from Indigenous sources and cosmopolitan aesthetics grounded in mid-century European modernist sensibilities. The collection is given added weight by the passing of Juan Orrego-Salas, the composer of the title work, sixteen days prior to the first recording session. Rossi and Cheng have dedicated the album to his memory, a fitting homage to a man who was a lifelong ambassador for Chilean music in the United States.
Rafael Díaz’ ¿Habrá alguien que en sus manos sostenga este caer? (Will There Be Someone Whose Hands Can Sustain This Falling?) opens the program and is its only work for solo viola. Taking inspiration from ritual prayers of the Pewenche people of the central Andean region, the work embodies the pantheistic ethos of their way of life in which the natural world and the deity are fused. The viola is amplified with added reverb to simulate playing alone in a mountainous terrain. The musical material alternates between melodic gestures derived from ethnomusicological fieldwork and violistic techniques that paint a meditative scene. Díaz’ second work on the album, Al fondo de mi lejanía se asoma tu casa (In the Depths of My Distance Your House Emerges), is a simple sonic recollection of a childhood memory. Diaz came up with the comforting theme to whistle as he took his daily walk to school through a pampa filled with animals, some of whom had a specific interest in the contents of his lunch bag.
Carlos Botto Vallarino was a pivotal figure in the Chilean concert music community, nationally beloved as a pedagogue, scholar, and composer. A student of Luigi Dallapiccola in New York on a Guggenheim post-graduate fellowship, Botto’s style reflects an affinity for character pieces and freely evolving structures. His Fantasía op. 15 opens with a brooding melody in the viola that is developed patiently, with supporting atmospheric piano chords that grow in intensity. Botto saves the most energetic music for the last minutes of the work, when a skittering dialogue develops between the instruments, broken up momentarily by expansive chords in the piano that recall sonorities from the somber opening.
Berlin-born, Buenos Aires raised Federico Heinlein spent the early part of his life between Argentina and Europe before settling permanently in Chile in 1940. Heinlein’s music reflects a wealth of literary points of inspiration — the Dylan Thomas reference in the subtitle of his Dúo “Do not go gentle” is consistent with that component of his work. Heinlein’s duo begins with taut declamatory phrases, displaying a discipline in its approach to motivic development that hearkens to late German romanticism. A lyrical second thematic area smooths the angular edges of the opening material. After a return of the opening, a virtuosic coda closes the work with fanfare.
David Cortés’ Tololo, one of the two works on Mobili written within the last decade, is a musical homage to the Coquimbo Region north of Santiago where he grew up, and to the astronomical wonders one can discover in its night skies. Cortés establishes a metaphor between his treatment of material and the way a telescope obscures and reveals visual information when zooming in and out. Establishing the low C string of the viola as a central pitch, Cortés builds layers of activity and tension above it, with glissandi on double stops that create microtonal beatings, left hand pizzicati, and evocative trills. The piano shadows the viola’s malleable gestures, subtly asserting the equal tempered framework around which the glissandi melt from pitch to pitch. The meditative quality of the work is broken briefly for a mischievous passage led by staccato scales in the piano about three quarters of the way through the work before we hear the opening material once again to bring the piece full circle.
Juan Orrego-Salas’ four movement work Mobili is focused and economical. The thoughtful, deliberative music in the opening movement, “Flessibile,” is occasionally interrupted by a forceful descending gesture in the piano. “Discontinuo” is more jagged, with playful interplay between the instruments. “Riccorente” unfolds as a slow march, with an initial piano melody over delicate viola pizzicati growing more rhapsodic as the melody switches instruments. An extended viola solo passage contains the most poignantly expressive music in the work. The final movement, “Perpetuo,” is vigorous and propulsive, closing this exceedingly well balanced work.
Included in the program as a bonus track is Argentine composer Carlos Gustavino’s charming El Sampedrino, a touching encore that highlights Rossi and Cheng’s elegant musical chemistry.
Mobili documents a rich repertoire for viola and piano from Chile, demonstrating not so much a national compositional style, but instead a constellation of influences from European modernism, to Chilean Indigenous music, to aspects of Chilean life and its landscape. Georgina Rossi’s impeccable precision is matched by a penetrating expressivity, complemented beautifully by Silvie Cheng’s sensitive performance in music that most often presents viola and piano as equal partners. Mobili is a warm and compelling invitation to discover more music from Chile, by these excellent composers from Chile and their forebears and successors.
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