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艺术家：中世纪三重唱组合（Trio Mediæval）、阿尔韦·亨里克森（Arve Henriksen）
专辑名称：《里穆尔（Rímur）》
发行年份：2017年
厂牌：ECM唱片公司
音乐类型：古典音乐、声乐、爵士乐
音质：FLAC（分轨）
总时长：50分53秒
总大小：200兆字节
网站：专辑预览
曲目列表
01. 《圣比尔吉塔赞美诗 - 玫瑰散发着芬芳（Rosa rorans bonitatem）》 04分23秒
02. 《哦，至甜的耶稣（O Jesu dulcissime）》 05分05秒
03. 《倘若命运将我派遣（Om ödet skulle skicka mig）》 01分19秒
04. 《晨星（Morgunstjarna）》 03分07秒
05. 《起来吧，亲爱的主（Ris upp, drottni dyro）》 01分06秒
06. 《圣马格努斯赞美诗 - 高贵而谦卑（St Magnus Hymn - Nobilis humilis）》 04分24秒
07. 《让歌声轻快而高昂（Láta gjalla létt og hátt）》 02分38秒
08. 《新娘的滑步舞曲（Brureslatt）》 03分15秒
09. 《圣苏妮瓦赞美诗 - 基督永恒的恩赐（St Sunniva Hymn - Eterna Christi munera）》 03分56秒
10. 《弯曲（Krummi）》 02分25秒
11. 《愿你确实赐予我你的圣灵（Anda pinn guo mer gef pu vist）》 03分29秒
12. 《苏拉拉鲁（Sulla lulla）》 02分16秒
13. 《你是最初的那一位（Du är den första）》 04分06秒
14. 《救赎之母（Alma Redemptoris Mater）》 02分40秒
15. 《比姆比姆班巴洛（Bium bium bambalo）》 02分33秒
16. 《我没有爱人（Jag haver ingen karare）》 02分11秒
17. 《老妇人的圆舞曲（Gammelkjerringvalsen）》 02分10秒
《里穆尔》是一张由十七首圣歌、赞美诗、民歌和即兴创作组成的专辑，其素材源自古老的冰岛、挪威和瑞典音乐，歌手兼小提琴手安娜·玛丽亚·弗里曼（Anna Maria Friman）、歌手林恩·安德里亚·富格莱瑟（Linn Andrea Fuglseth）和贝丽特·奥普海姆（Berit Opheim），以及杰出的小号手阿尔韦·亨里克森（Arve Henriksen）以当代的感知方式将它们呈现出来。
这张专辑中的音乐清晰地展现了我们当地音乐所具有的深厚迁徙特性。这是来自遥远过去的音乐，其特征与当时截然不同的生活环境密切相关。这是来自遥远地区的音乐，这些地区因人们为寻求更好的生活条件而四处漂泊迁徙而相互关联。这是长期以来通过口口相传留存下来，并在上个世纪最终以书面形式记录下来的音乐。这是需要在持续不断的探索、吸收和重新创造的过程中，在过去的回响与当下的生活相交融之际，去重新发掘、重构并赋予其新背景意义的音乐。
这张专辑的灵感起点和来源地是位于阿斯克沃尔市（Askvoll）的里韦达尔村（Rivedal），它靠近达尔峡湾（Dalsfjord）入北大西洋的河口处。达尔峡湾位于卑尔根市（Bergen）西北约110公里处，介于松恩峡湾（Sognefjord）和北峡湾（Nordfjord）之间。阿尔韦·亨里克森就在离此地不远的地方长大，具体来说是在北峡湾地区的斯特林（Stryn），位于阿斯克沃尔东北约180公里处。公元9世纪，来自里韦达尔村的英戈尔夫·阿纳森（Ingolfur Arnarson）开启了冰岛的定居历史。冰岛位于里韦达尔村以西1400公里的北大西洋，处于法罗群岛和格陵兰岛之间。公元874年，英戈尔夫·阿纳森卷入了一场血腥仇杀。在失去自己的财产后，他决定与两个亲戚一起启航，去寻找传闻中位于北大西洋中部的一个新岛屿。最终，他建立了雷克雅未克，也就是现在冰岛的首都。这一切都发生在一千多年前（如中世纪冰岛的《定居之书（Landnámabók）》手稿中所记载）。
达尔峡湾地区及其迁徙历史成为了音乐家们的灵感源泉，促使他们将包括冰岛、奥克尼群岛、挪威和瑞典地区在内的北方古老歌曲和演唱风格联系起来。最终的成果是一系列中世纪赞美诗、冰岛双韵诗（Tvisöngur）、里穆尔诗体歌曲（Ríma）、民歌、船夫曲，以及秉承古老形式精神新创作的作品。
从聆听的第一刻起，这首原本单声部的音乐所散发出的力量、宁静和专注就令人印象深刻。有些人可能需要更多时间才能真正融入其中，但它为听众提供了一个机会，去感受音乐所触及的更深层次的生存根基。正如安娜·弗里曼在唱片内页注释中所说：“我们现在很难想象，但直到中世纪晚期，人们听到的宗教复调音乐其实相对很少（无论是在教堂还是其他地方）。单声部圣歌是几乎所有音乐体验的基石。”
开场曲，瑞典的《圣比尔吉塔赞美诗》，以一个领唱声部开始，随后很快加入了两个伴唱声部，还有一种几乎难以察觉的小号持续音。接着，三位女性的声音融合为一个声部，与逐渐升高的小号声形成对比，小号以装饰性的旋律占据主导。这些持续的微妙动态变化和过渡，几乎难以察觉的前景与背景运用，轻微的聚焦与分散的方式，以及相互映照和疏离的效果，是这张专辑的核心特点。它营造出一种氛围，激发着听众的想象力。
在《哦，至甜的耶稣》这首四首冰岛双韵诗之一中，安娜·弗里曼的哈丹格尔小提琴（Hardanger fiddle）悠扬的旋律与亨里克森的小号声融合在一起，并以空灵的方式与富格莱瑟和奥普海姆的两个声部交织。在与这两个声部的互动中，哈丹格尔小提琴和小号不断地交织与分离。就这样，“来自远方的声音”在空中飘荡，在聆听的瞬间变得真切而亲近。这些总是“细微的效果”，却对所呈现的听觉体验产生了巨大的影响。在另一首冰岛双韵诗《晨星》中，亨里克森的小号只是作为声音的影子，仅在少数时刻凸显到前景。编排最为丰富的双韵诗是《愿你确实赐予我你的圣灵》。它以三位女性的声音开场，随后小号以一段较长的欢快独奏出现，伴随着轻柔的人声低语——这是一种超越时间的声乐呈现。
最西南方向的音乐来源是来自苏格兰北部海岸外奥克尼群岛的《圣马格努斯赞美诗》。大约在英戈尔夫·阿纳森踏上冰岛的同一时期，奥克尼群岛被挪威人（入侵并）定居。根据《奥克尼萨迦（Orkneyinga Saga）》记载，公元995年，挪威国王奥拉夫·特里格瓦松（Olav Tryggvasson）将奥克尼群岛基督教化，这比英戈尔夫·阿纳森定居冰岛晚了100年。挪威人在奥克尼群岛存在了数个世纪，这使得这首赞美诗成为《里穆尔》专辑收录内容的合理选择。这首赞美诗由小号引入，过了一会儿，三位女性的声音开始重复回响。后来，领唱声部接过主导并与另外两个声部融合。在声音转为轻柔的哼唱并逐渐消逝之前，小号短暂地再次出现。这里不仅四个声部的编排引人注目，歌曲部分的顺序安排、重复以及以哼唱结束的方式也十分精妙。我们不知道“原作”听起来是什么样子，但在这里，它听起来凭直觉就觉得“恰到好处”。
这张专辑中还有更多这样的精彩之处。它是一次值得探索且至今独一无二的听觉之旅。毕竟，这是这些音乐家首次以这样的组合推出专辑，事实证明，这种组合在其他情境下也是绝佳之选，尤其是他们与杰出的挪威歌手兼康特勒琴演奏者西尼卡·兰格兰（Sinikka Langeland）在专辑《魔法森林（The Magical Forest）》（2016年，ECM唱片公司）中已经有了长期合作。另一个例子是中世纪三重唱组合最近与由挪威贝斯手 Mats Eilertsen 组成的三重奏（包括钢琴手 Harmen Fraanje 和鼓手 Thomas Strønen）合作的令人惊叹的《值得纪念的事物（Memorabilia）》，这部作品由特隆赫姆爵士音乐节委托创作并在去年首演，目前正在巡回演出。最新的组合是索米尔（Saumur）+《里穆尔》的阵容。在这里，由冰岛音乐家斯库利·斯维里松（Skuli Sverrisson，贝斯）和希尔玛·延森（Hilmar Jensson，吉他）组成的索米尔三重奏与阿尔韦·亨里克森一起，与中世纪三重唱组合合作，阿尔韦·亨里克森成为两个三重奏之间的连接纽带。与此同时，这个三重唱组合也在当下的流行音乐中留下了印记：中世纪三重唱组合对《雅歌》中“只是”（just）的演绎，被采样用于 XX 乐队刚刚发行的专辑《我看见你（I See You）》中歌曲《嘴唇（Lips）》的开头和结尾。
值得一提的是，阿尔韦·亨里克森在这里出色而动人的演奏并非一朝一夕得来，不是上天赐予的神来之笔。亨里克森是一位多才多艺的音乐家，他在漫长而深入的音乐探索之旅中不断挖掘和发展自己的演奏技艺。在《里穆尔》这张专辑中，看似不同的音乐领域被巧妙地融合在一起，包括在世俗民歌与宗教音乐之间自然过渡，这一点非常了不起。
Artist: Trio Mediæval, Arve Henriksen
Title: Rímur
Year Of Release: 2017
Label: ECM Records
Genre: Classical, Vocal, Jazz
Quality: FLAC (tracks)
Total Time: 50:53 min
Total Size: 200 MB
WebSite: Album Preview
Tracklist:
01. St Birgitta Hymn - Rosa rorans bonitatem 04:23
02. O Jesu dulcissime 05:05
03. Om ödet skulle skicka mig 01:19
04. Morgunstjarna 03:07
05. Ris upp, drottni dyro 01:06
06. St Magnus Hymn - Nobilis humilis 04:24
07. Láta gjalla létt og hátt 02:38
08. Brureslatt 03:15
09. St Sunniva Hymn - Eterna Christi munera 03:56
10. Krummi 02:25
11. Anda pinn guo mer gef pu vist 03:29
12. Sulla lulla 02:16
13. Du är den första 04:06
14. Alma Redemptoris Mater 02:40
15. Bium bium bambalo 02:33
16. Jag haver ingen karare 02:11
17. Gammelkjerringvalsen 02:10
Rímur is a collection of seventeen chants, hymns, folk songs and improvisations based on ancient Icelandic, Norwegian and Swedish sources, brought into our contemporary way of sensing by singer/violinist Anna Maria Friman , singers Linn Andrea Fuglseth and Berit Opheim, and eminent trumpeter Arve Henriksen.
The music of this album is a clear example of the deep-rooted migrational nature of our local existence. It is music of a remote past, marked by radically different life conditions. It is music from distant areas connected by wandering people in search of better life conditions. It is music handed down by word of mouth for a long time and finally documented in written form during the last century. It is music to be recovered, reconstructed and re-contextualized in an ongoing process of searching, appropriating and re-inventing, of sense making at the intersection of a resonating past and today's breathing.
Starting point and place of inspiration was the village of Rivedal in the municipality of Askvoll, near the mouth of the Dalsfjord to the Northern Atlantic. The Dalsfjord is situated about 110 km northwest of the city of Bergen in between the Sognefjord and the Nordfjord. Arve Henriksen grew up not too far from this place, namely in Stryn in the Nordfjord area some 180 km northeast of Askvoll. In the 9th century Ingolfur Arnarson, a guy from Rivedal, initiated the settlement of Iceland. Iceland is situated 1400 km westwards of Rivedal in the Northern Atlantic between the Faeröer Islands and Greenland. Ingolfur Arnarson became entangled in a blood feud in 874. After having lost his possessions he decided to set sail together with two relatives, in search of a reported new island in the middle of the Northern Atlantic. Eventually he founded Reykjavik, now the capital of Iceland. This all happened more than a thousand years ago (as reported in the medieval Icelandic Landnámabók manuscript).
The Dalsfjorden area with its migration history was the musician's place of inspiration to connect ancient songs and singing of Northern areas including Iceland, the Orkney Islands, Norwegian and Swedish regions. The result is a sequence of medieval hymns, Icelandic Tvisöngur, Ríma, Folk Songs, Shanties and newly invented pieces in the spirit of the ancient forms.
Impressive from the first moment of listening is the strength, calmness and concentration this originally monophonic music exudes. Some may need more time to really get into it but it offers the listener to opportunity to feel the deeper ground of existence the music is touching upon. As Anna Friman states in her liner notes: "It's hard for us to imagine now, but until quite late in the medieval period relatively little sacred polyphony was heard at all (either in church or elsewhere). Monophonic chant was the rock on which almost all musical experience was founded."
The opener, the Swedish "St. Birgitta Hymn," starts with a lead voice soon after joined by two backing vocals and, hardly discernible, a kind of trumpet drone. Then the three female voices melt into one voice contrasted by the rising sound of the trumpet taking the lead with embellishing lines. These constant subtle dynamic changes and transitions, the almost imperceptible use of foregrounding and background, the slight ways of zooming in and out, the mirroring and distancing are a central mark of the album. It convokes an atmosphere that gives wings to the listener's imagination.
In "O Jesu dulcissime," one of the four Icelandic Tvisöngur, Anna Freeman's curving Hardanger fiddle merges with Henriksen's trumpet thereby mingling with the two voices of Fuglseth and Opheim in airy ways. Further on Hardanger fiddle and trumpet constantly intertwine and diverge in their interplay with the two voices. Thus the 'voices from far away' are carried through the air thereby gaining visceral closeness in the moment of listening. These are always 'small effects' with a large impact on the listening landscape presented. In 'Morguntjarna,' another Icelandic Tvisöngur, Henriksen's trumpet functions as a shadow of the voices rising to the foreground only in a few moments. The richest orchestrated Tvisöngur is "Anda þinn guð mér gef þú vist." It starts with the three female voices from which the trumpet emerges with a longer jubilating solo backed by the murmuring voices—a timeless vocal manifestation.
The most southwestern source is the "St. Magnus Hymn" from the Orkney archipelago situated off the north coast of Scotland. It was (invaded and) settled by the Norse around the same time that Ingolf Arnarson set foot on Iceland. According to the Orkneyinga Saga Orkney was Christianized 100 years later by Norwegian king Olav Tryggvasson in 995. There was a centuries long Norse presence on Orkney, which makes it reasonable for this hymn to be part of the collection of Rímur. The hymn is introduced by the trumpet and after a while is joined by a repetitive echoing of the three female voices. Later the lead voice takes over and unites with the other two voices. The trumpet returns shortly before the voices turn to soft humming and fade away. Not only the arrangement of the four voices is remarkable here. The sequencing and repetition of parts of the song with a humming conclusion is sophisticated too. We don't know how 'the original' sounded, but here it sounds intuitively 'right.'
There is a lot more of that on the album. It makes it a worthwhile and so far unique aural journey. After all, it is the first album of this combination of musicians, a combination that has proved itself already in other contexts as a golden choice, especially in its already longer lasting collaboration with eminent Norwegian singer/kantele player Sinikka Langeland on The Magical Forest(2016, ECM). Another one is Trio Mediæval's recent pairing with the trio of Norwegian bassist Mats Eilertsen comprising pianist Harmen Fraanje and drummer Thomas Strønen in the stunning "Memorabilia," a work commissioned by and premiered at the Trondheim Jazz Fest last year and touring presently. The latest one is the Saumur + Rímur constellation. Here the Saumur trio of Icelandic musicians Skuli Sverrisson (bass) and Hilmar Jensson (guitar) together with Arve Henriksen meets Trio Mediaeval with Arve Henriksen as connecting link between both trios. And meanwhile the trio also left its mark in present pop music: Trio Mediæval's rendition of "just" (after Song of Songs) is sampled in the intro and outro of the piece "Lips" on The XX's just released album I See You.
Worth mentioning is that the brilliant and touching sound of Arve Henriksen here did not just fall from the sky one day, as a divine boon. Henriksen is a musician with many sides, who has explored and developed his playing in a long and deep sonic journey. It is remarkable how seemingly heterogeneous spheres are unified on Rímur including natural transitions between mundane Folk Songs and Sacred Music.
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发表于 2025-4-9 08:15:09