06-郑明勋《陈银淑：三首协奏曲》 (2014) Hi-Res
艺术家：金孙郁、阿尔班·格哈特、郑明勋
标题：郑明勋《陈银淑：三首协奏曲》
发行年份：2014年
厂牌：德意志留声机
流派：古典
音质：24位-44.1千赫兹FLAC/FLAC（镜像文件+.cue）
总时长：72:11
总大小：730/341兆字节
网站：专辑预览
曲目列表
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陈银淑（*1961）
- 钢琴协奏曲（1996/1997）
- 大提琴协奏曲（2008/2009，修订版2013）
《朔》为笙与管弦乐队而作（2009）
演奏者：
金孙郁（钢琴）
阿尔班·格哈特（大提琴）
吴巍（笙）
首尔爱乐乐团
郑明勋（指挥）
这张专辑堪称里程碑式的存在：由韩国音乐家为主演绎韩国重要作曲家的公开作品，由西方大型唱片公司录制，且预计面向西方与韩国听众同等推广。作曲家陈银淑曾师从György Ligeti（捷尔吉·利盖蒂），但其风格仅在层叠织体与节奏强调的整体倾向方面与导师有相似之处。她的音乐中，音响模块之间的关系会在作品进程中动态变化，尽管其和声体系属于无调性，却并不难理解。协奏曲形式为展现其创作理念提供了理想载体，而此处的三首作品（她另有多部同类型创作）均为引人入胜的范例。建议从2009年的终曲《朔》（为笙与管弦乐队而作）开始聆听——这是全专辑唯一明确融入亚洲元素的作品（且所用乐器为中国笙而非韩国乐器），但笙在此与管弦乐队碰撞出的极不寻常的织体组合，恰是陈银淑整体创作思路的缩影。1996-1997年的《钢琴协奏曲》是极端考验技巧的作品，独奏家金孙郁驾驭自如；《大提琴协奏曲》（2008-2009，2013修订版）以单个音符为核心，让独奏与乐队从该音符出发进行不同维度的音乐演化。三首作品中，独奏者均未承担传统协奏曲中“个体对抗群体”的角色，但也绝非单纯的“主奏乐器突出的合奏作品”。这种独特定位正是音乐的魅力所在，指挥家郑明勋更将作品中常现的精密织体细节尽致呈现。即便对当代亚洲音乐发展无特定兴趣的听众，亦值得一听。
Artist: Sunwook Kim, Alban Gerhardt, Myung-Whun Chung
Title: Unsuk Chin: 3 Concertos
Year Of Release: 2014
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (image+.cue)
Total Time: 72:11
Total Size: 730 / 341 Mb
WebSite: Album Preview
Tracklist:
Unsuk Chin (*1961)
- Piano Concerto (1996/1997)
- Cello Concerto (2008/2009, rev.2013)
Šu for sheng and orchestra (2009)
Performers:
Sunwook Kim, piano
Alban Gerhardt, cello
Wu Wei, sheng
Seoul Philharmonic Orchestra
Myung-Whun Chung, conductor
This release represents something of a milestone: a performance of major, public Korean compositions by mostly Korean musicians, recorded for a large Western label and presumably marketed at least as much to Westerners as to Koreans. Composer Unsuk Chin was a student of György Ligeti, but her style resembles his only in her general orientation toward layered textures and rhythmic emphasis. She writes music in which the relationships between blocks of sound shift over the course of a composition, and although her harmonic world is atonal, her writing is not difficult to follow. The concerto form allows an ideal introduction to what she does, and the three works here are attractive examples (she has written several others). Start with the concluding Su, for sheng & orchestra, from 2009. This is the only work on the program with specifically Asian content (and the instrument involved is Chinese, not Korean), but the way the sheng is treated, generating extremely unusual texture combinations with the orchestra, is illustrative of the whole. The Piano Concerto of 1996-1997 is an extreme virtuoso work easily handled by soloist Sun-wook Kim, while the Cello Concerto (2008-2009, rev. 2013) uses a single note as its center and evolves the music of soloist and orchestra from that note in different ways. In none of the three pieces does the soloist fulfill the traditional concerto role of the individual opposed to the crowd, but neither is any of the three simply an ensemble work with a prominent solo instrument. This is precisely the music's considerable appeal, and conductor Myung-Whun Chung draws out the works' often exacting textures to their full extent. Recommended even beyond circles interested in contemporary Asian developments.
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