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艺术家：卡罗琳·苏里克，隆恩·麦克法兰
标题：卡罗琳·苏里克 费米悖论
发行年份：2020年
厂牌：Sono Luminus
类型：古典音乐
音质：无损FLAC格式/24位-192.0千赫兹FLAC格式/DSD64格式+小册子
总时长：01:00:31
总大小：298兆字节/2.17千兆字节/2.45千兆字节
网站：专辑预览
曲目列表
01. 费米悖论
02. 她走过市集 - 约翰· barleycorn（为鲁特琴、维奥尔琴与宝思兰鼓改编）
03. 哈马雷之后的行进曲 - 最后一天 - D小调第一组曲：第六首 小吉格舞曲（为鲁特琴与维奥尔琴改编）
04. 黑水河边（隆恩·麦克法兰为鲁特琴与维奥尔琴改编）
05. 拉比玫瑰（为鲁特琴、维奥尔琴与宝思兰鼓改编）
06. 奇异恩典（卡罗琳·苏里克为鲁特琴与维奥尔琴改编）
07. 丹尼尔的恰空舞曲
08. 三一林
09. E小调维奥尔琴奏鸣曲，TWV 41:e5：第一乐章 如歌的行板 - 第三乐章 宣叙调 - 咏叹调
10. 道兰德为奥利弗·克伦威尔先生所作的《告别》，第13页
11. 啊，神圣的头，如今受伤（由J.S.巴赫和声）[卡罗琳·苏里克为鲁特琴与维奥尔琴改编]
12. 万福泉源 - 瑞典民谣《Sjungar-lars visa》（为鲁特琴与维奥尔琴改编）
13. 小玛莎（隆恩·麦克法兰为鲁特琴与维奥尔琴改编）
14. 奥罗克的平原，第二旋律（为鲁特琴与维奥尔琴改编）
15. 圣母颂，CG 89a（改编自巴赫BWV 846）[卡罗琳·苏里克为鲁特琴与维奥尔琴改编]
卡罗琳·苏里克与隆恩·麦克法兰 - 《费米悖论》（2020年）[高解析度]
我们曾拥有世上所有的时间。我们有三个月。原本每周六的排练变成了周六加周日。一周又一周，我们翻遍记忆、成堆的书籍、叠放的乐谱和珍爱的录音，寻找可能收录在这张专辑中的作品。
隆恩带来了自他年轻时便融入生命的旋律——那些他热爱并已为鲁特琴改编过的音乐。他再次为鲁特琴与维奥尔琴重新编排。他问：“你知道《小玛莎》吗？最初由奥尔曼兄弟乐队录制。”我并不知晓。《黑水河边》是伯特·詹施改编的传统爱尔兰民谣。《她走过市集》搭配《约翰· barleycorn》竟十分契合，后者是我从未听过的爱尔兰曲调，如今成为我的乐器要吟唱的新歌。我们都热爱图洛·奥卡罗兰，而我们从未录制过《奥罗克的平原，第二旋律》，其爱尔兰与意大利风情（旋律性与原始情感）的神秘交融让它立刻进入了候选名单。《拉比玫瑰》我已心念多年，此刻正是最佳时机。
若录制鲁特琴与维奥尔琴的专辑却没有约翰·道兰德的作品，似乎荒谬至极。巧合的是，他恰好有一首为这两种乐器所作的曲子——于是我们收录了它。既有道兰德，便不能少了马林·马雷，这位史上最伟大的维奥尔琴作曲家之一。若维奥尔琴要吟唱爱尔兰民谣，为何不加入泰勒曼的宣叙调与咏叹调？若有泰勒曼，为何不加入古诺基于巴赫主题创作的《圣母颂》？
只要我们热爱，答案便是：“好。”
当疫情肆虐加剧，我独自坐着练习。有人凭记忆演奏，有人看着乐谱。一晚，我开始弹奏《奇异恩典》。我一直用G大调演奏——其中有许多容易弹奏的双音（同时拨动多根弦），且乐器在该调式中共鸣极佳，但这次我尝试了C大调。一种未曾察觉的开阔与自由扑面而来。这首曲子我弹奏了数十年，却从未如此聆听过。我给林赛发了录音，打电话给隆恩。我们必须收录它。
我用乐器的全部表现力打磨巴赫和声版的《啊，神圣的头》——随后加入鲁特琴。我们将另一首赞美诗《万福泉源》与瑞典民谣《Sjungar-Lars Visa》搭配，竟爱上了两者的交融。
隆恩和我都从事创作，灵感通常源于人或地点。他的《三一林》和《丹尼尔的恰空舞曲》都是对挚友的致敬。对我而言，《最后一天》诉说着深沉失落的重量。而《费米悖论》，我钟爱这个故事。
才华横溢的意大利物理学家恩里科·费米某天早晨与同事散步时说：“从数学角度讲，无法想象宇宙中不存在智慧生命。”当天晚些时候在食堂，他突然问：“那么，它们在哪里？”所有朋友都明白他在谈论什么。
Artist: Carolyn Surrick, Ronn McFarlane
Title: Fermi's Paradox
Year Of Release: 2020
Label: Sono Luminus
Genre: Classical
Quality: flac lossless / flac 24bits - 192.0kHz / DSD64 +Booklet
Total Time: 01:00:31
Total Size: 298 mb / 2.17 / 2.45 gb
WebSite: Album Preview
Tracklist
01. Fermi's Paradox
02. She Moved Through the Fair - John Barleycorn (Arr. for Lute, Viola da gamba & Bodhrán)
03. Gånglåt efter Hammare - The Last Day - Suite No. 1 in D Minor: VI. Gigue la petite (Arr. for Lute & Viola da gamba)
04. Down by Blackwaterside (Arr. R. McFarlane for Lute & Viola da gamba)
05. The Rose of Raby (Arr. for Lute, Viola da gamba & Bodhrán)
06. Amazing Grace (Arr. C. Surrick for Lute & Viola da gamba)
07. Daniel's Chaconne
08. Trinity Grove
09. Viola da gamba Sonata in E Minor, TWV 41:e5: I. Cantabile - III. Recitativo - Arioso
10. Dowland's Adieu for Master Oliver Cromwell, P. 13
11. O Sacred Head, Now Wounded (Harmonized by J.S. Bach) [Arr. C. Surrick for Lute & Viola da gamba]
12. Come Thou Fount of Every Blessing - Sjungar-lars visa (Arr. for Lute & Viola da gamba)
13. Little Martha (Arr. R. McFarlane for Lute & Viola da gamba)
14. Planxty O'Rourke, 2nd Air (Arr. for Lute & Viola da gamba)
15. Ave Maria, CG 89a (After Bach's BWV 846) [Arr. C. Surrick for Lute & Viola da gamba]
Carolyn Surrick & Ronn McFarlane - Fermi's Paradox (2020) [Hi-Res]
We had all the time in the world. We had three months. Our Saturday rehearsals turned into Saturdays and Sundays. Week after week we scoured our memories, stacks of books, piles of sheet music, and beloved recordings for pieces we might include on this CD.
Ronn brought tunes that have been part of his life since he was a young man – music he loves and had arranged for the lute. He arranged them again for the lute and viola da gamba. He asked, “Do you know Little Martha? It was originally recorded by the Allman Brothers.” I did not. Blackwater Side is a traditional Irish tune arranged by Bert Jansch. John Barleycorn fit perfectly with She Moved Through the Fair, an Irish tune I had never heard. It was a new song to be sung by my instrument. We both love Turlough O’Carolan and neither of us had ever recorded Planxty O’Rourke, Second Air with
its mysterious blend of Irish and Italian sensibilities (tunefulness and raw emotion) so that made the short list. The Rose of Raby had been on my mind for years. This was the time and place.
It seemed ridiculous to even consider a recording for lute and gamba without something by John Dowland. It turned out just one of his compositions was for the two instruments – so we recorded it. If there’s Dowland, then there must be Marin Marais, one of the greatest composers for the viol who ever lived. If the gamba is going to sing a traditional Irish tune, why not a recitative and aria by Telemann? If she’s going to sing something by Telemann, why not an Ave Maria, written by Gounod and based on thematic material belonging to Bach?
If we loved it, the answer was, “Yes.”
As the pandemic increased in its fierce destruction, I sat alone, practicing. Some of us play from memory, some with the music in front of us. One night I began Amazing Grace. I had always played it in G major – there are lots of double stops easily available (playing more than one string at a time) and the instrument is super resonant in that key, but this time I tried
C major. There was a kind of openness and freedom that had been hidden from me. I’ve played that piece for decades, but I had never heard it like that before. I sent a recording to Lindsey. I called Ronn. We had to include it.
I worked on the Bach harmonization of O Sacred Head using all the resources of the instrument – and then we added the lute. We paired another hymn, Come Thou Fount with the Swedish tune Sjungar-Lars Visa and fell in love with the two together.
Ronn and I both compose, usually inspired by people or places. His Trinity Grove and Daniel’s Chaconne are both tributes to dear friends. For me, The Last Day speaks of the weight of deep losses. And then, there’s Fermi’s Paradox. I love this story.
The brilliant Italian physicist Enrico Fermi was walking with friends at work one morning and said something like this, “It is mathematically impossible to imagine that there is not intelligent life out there in the universe.” When they were sitting in the cafeteria later that day, out of the blue, he said, “So, where are they?” All of his friends knew exactly what he was talking about.
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