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艺术家：埃萨-佩卡·萨洛宁
作品名称：《洛杉矶变奏曲》
发行年份：2014年
厂牌：索尼古典
音乐类型：古典音乐
音质：FLAC 24比特-44.1千赫兹 / FLAC（分轨） / Mp3 320千比特每秒
总时长：1小时14分34秒
总大小：596兆字节 / 339兆字节 / 190兆字节
网站：专辑预览
曲目列表：
1. 《洛杉矶变奏曲》 20分06秒
《萨福之后的五幅意象》
2. 1. 《告诉每一个人》 2分06秒
3. 2. 《毫无预兆》 2分33秒
4. 3. 《无济于事》 2分17秒
5. 4. 《昏星》 3分04秒
6. 5. 《婚礼》 7分55秒
7. 《旋转》，为管弦乐队而作 10分10秒
8. 《狂想曲》，为大提琴与合奏团而作 17分01秒
9. 《策略》，为管弦乐队而作 9分00秒
演奏者：
伦敦小交响乐团（曲目2至6，8）
洛杉矶爱乐乐团（曲目1，7，9）
大提琴——安西·卡尔图宁（曲目8）
女高音——道恩·厄普肖（曲目2至6）
作曲——埃萨-佩卡·萨洛宁
指挥——埃萨-佩卡·萨洛宁
埃萨-佩卡·萨洛宁于1996年受洛杉矶爱乐乐团委托创作了《洛杉矶变奏曲》，并将其献给当时担任洛杉矶爱乐协会执行副总裁兼总经理的欧内斯特·弗莱施曼。萨洛宁与洛杉矶爱乐乐团于1997年1月在音乐中心的定期音乐会上首演了这部作品，此后还在纽约（1997年5月）、好莱坞露天剧场（1998年8月）演出，并在同年8月和9月的欧洲巡演中，于伦敦、布鲁塞尔、卢塞恩、科隆和法兰克福等地表演。2000年1月，这部作品在加州大学洛杉矶分校罗伊斯大厅的一场特别的“绿伞”音乐会上演出，2003年，它在好莱坞露天剧场被加演，之后还在爱丁堡艺术节音乐会以及新建成的华特·迪士尼音乐厅三场开幕庆典的第二场中亮相。每一次演出，观众的反应都极为热烈，从洛杉矶的首演时全场起立鼓掌就可见一斑。媒体评论也一直颇为赞赏，例如：“这是一部极具吸引力且意义非凡的音乐作品，它无需推翻极简主义就能达成自己的高度。这是世纪末音乐文化发展中的重要一步……”（《洛杉矶时报》）。“变化迷人且富有想象力……充满了幽默。”（《今日美国》）。“华丽而时尚的首秀，定会给人留下深刻印象。”（《新闻日报》）。“这首献给管弦乐队的狄俄尼索斯式赞美诗是一部纯粹享受音响效果的作品，由一个既自由又严谨的头脑精心构思而成。这部音乐的魅力与活力能立即产生效果，并且它所使用的音乐语言，其原创性远超学术争论。”（《晚报》）。
作曲家提供了以下说明：
《洛杉矶变奏曲》本质上是基于两个和弦的变奏曲，每个和弦由六个音符组成。它们合在一起涵盖了半音阶的所有十二个音符。因此，《洛杉矶变奏曲》的基本素材具有一种模糊的特性：有时（实际上大多数时候）它是调式的（六声音阶），而当这两个六声音阶作为一个十二音结构一起使用时，它又是半音阶的。
这种将序列音乐思维和非序列音乐思维相结合的模糊性，是我自八十年代中期以来所有作品的特征，但《洛杉矶变奏曲》极大地向非序列音乐思维倾斜。
这部作品时长约十九分钟，为大型管弦乐队而作，编制包括一支低音单簧管和一台合成器，其形式清晰，表达直接。
这两个六声音阶在作品开头的几个小节中以半音阶的形式一起呈现。中音长笛、英国管、低音单簧管和两支巴松管，在三把中提琴独奏的衬托下，演奏出一段听起来像是某种合成民间音乐的旋律，但实际上它是这两个六声音阶在同一音高上的横向呈现。
接下来的一些变奏曲基于这段旋律，而其他变奏曲则是素材中更深刻、无形（或听不见）的方面。作品中也有一些始终不变的元素，比如在作品进行到一半时首次在定音鼓和打击乐器中听到的扬抑抑格节奏。
Artist: Esa-Pekka Salonen
Title: LA Variations
Year Of Release: 2014
Label: Sony Classical
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks) / Mp3 320 kbps
Total Time: 01:14:34
Total Size: 596 Mb / 339 Mb / 190 Mb
WebSite: Album Preview
Tracklist:
1. LA Variations 20:06
Five Images After Sappho
2. 1. Tell Everyone 2:06
3. 2. Without Warning 2:33
4. 3. It's No Use 2:17
5. 4. The Evening Star 3:04
6. 5. Wedding 7:55
7. Giro, For Orchestra 10:10
8. Mania For Violoncello And Ensemble 17:01
9. Gambit, For Orchestra 9:00
Performers:
London Sinfonietta (tracks: 2 to 6, 8)
Los Angeles Philharmonic (tracks: 1, 7, 9)
Cello – Anssi Karttunen (tracks: 8)
Soprano Vocals – Dawn Upshaw (tracks: 2 to 6)
Composed By – Esa-Pekka Salonen
Conductor – Esa-Pekka Salonen
Esa-Pekka Salonen composed LA Variations in 1996 on commission from the Los Angeles Philharmonic, with a dedication to Ernest Fleischmann, then Executive Vice President and Managing Director of the Los Angeles Philharmonic Association. Salonen and the Philharmonic premiered the piece in January 1997 at subscription concerts at the Music Center and have since performed it in New York (May 1997), at the Hollywood Bowl (August 1998), and on their subsequent European tour that August and September, in London, Brussels, Lucerne, Cologne, and Frankfurt. The work was performed on a special Green Umbrella concert at UCLA’s Royce Hall in January 2000, and in 2003 it was encored at the Hollywood Bowl prior to an Edinburgh Festival concert and the second of three Opening Galas for the new Walt Disney Concert Hall. At each performance, audience reaction has been extremely enthusiastic, beginning with standing ovations at the Los Angeles premiere. Press comments have been consistently favorable, e.g., “It is music of immediate appeal and relevance that doesn’t need to overthrow Minimalism to get there. This is an important step in musical culture at the end of the century…” (Los Angeles Times). “Intoxicatingly varied and imaginative…lots of humor.” (USA Today). “Splashy and stylish debut, calculated to impress.” (Newsday). “This Dionysian hymn to the orchestra is a work of pure enjoyment of sonority, elaborated by a mind as free as it is rigorous. The seductiveness and dynamism of this music have an immediate effect, and are clad in a language whose originality is far above scholastic squabbles.” (Le Soir).
The composer has provided the following note:
LA Variations is essentially variations on two chords, each consisting of six notes. Together they cover all twelve notes of a chromatic scale. Therefore the basic material of LA Variations has an ambiguous character: sometimes (most of the time, actually) it is modal (hexatonic), sometimes chromatic, when the two hexachords are used together as a twelve-tone structure.
This ambiguity, combining serial and non-serial thinking, is characteristic of all my work since the mid-eighties, but LA Variations tilts the balance drastically towards the non-serial.
This piece, some nineteen minutes of music scored for a large orchestra, including a contrabass clarinet and a synthesizer, is very clear in its form and direct in its expression.
The two hexachords are introduced in the opening measures of the piece together in the chromatic phenotype. Alto flute, English horn, bass clarinet, and two bassoons, shadowed by three solo violas, play a melody which sounds like a kind of synthetic folk music, but in fact is a horizontal representation of the two hexachords transposed to the same pitch.
Some of the variations that follow are based on this melody, others are the deeper, invisible (or inaudible) aspects of the material. There are also elements that never change, like the dactyl rhythm first heard in the timpani and percussion halfway through the piece.
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发表于 2025-4-10 08:23:37