14-斯图尔特·平科姆 - 《大提琴是我的生命》2020年Hi-Res，24B、192.0kHz
艺术家：斯图尔特·平科姆（Steuart Pincombe）
专辑名称：《我生命中的大提琴》
发行年份：2020年
厂牌：七山唱片公司（7 Mountain Records）
音乐类型：古典音乐
音质：无损FLAC格式 / 24比特、192.0千赫兹的FLAC格式
总时长：1小时04分02秒
总大小：271兆字节 / 2.13吉字节
网站：专辑预览
曲目列表
01. C小调第五组曲，BWV 1011，第一乐章：前奏曲
02. C小调第五组曲，BWV 1011，第二乐章：阿勒曼德舞曲
03. C小调第五组曲，BWV 1011，第三乐章：库朗特舞曲
04. C小调第五组曲，BWV 1011，第四乐章：萨拉班德舞曲
05. C小调第五组曲，BWV 1011，第五乐章：加沃特舞曲 第一首和第二首
06. C小调第五组曲，BWV 1011，第六乐章：吉格舞曲
07. F大调第六奏鸣曲，第一乐章：柔板
08. F大调第六奏鸣曲，第二乐章：快板
09. F大调第六奏鸣曲，第三乐章：行板 - 活泼的
10. F大调第六奏鸣曲，第四乐章：吉格舞曲
11. 《投射1》
12. 《交叉点4》
13. 《压力》
14. 《科托斯》
我对声音的热爱与声音的物理产生方式或发声机制紧密相连。换句话说，我喜欢声音与动作之间的关联。这些声音是直接产生还是间接产生的并不重要，无论是由人的有意（直接）动作产生，还是由树枝在刮风天刮擦旧的生锈路牌这种间接（间接）动作产生。无论直接还是间接，通过动作产生的声音都有其意义。它们可能意味着好事或坏事，可能是丑陋的或美好的，简单的或复杂的，这样的描述几乎无穷无尽。它们的共同之处在于，它们都源自自身之外的某种东西。正是这种超出声音本身的东西赋予了它们意义，即便它们也可能仅仅因其“本来的样子”而被欣赏。
这种对声音的理解是我为这张专辑所选音乐的核心。通过这张唱片，我们从巴赫和加利作品中在调性上复杂精妙、经过发展和修饰的动作形式，过渡到费尔德曼作品中所探索的更为简单且客观的动作。接着是拉亨曼作品中纯粹的动作机制，既细腻又粗犷；最后是泽纳基斯作品中充满野性、过度修饰、极具表现力且色彩丰富的和声。尽管这些作品即便不加解释也值得细细品味，但我还是想让听众了解两个相互关联之处：巴赫与泽纳基斯的关联：他们在“装饰音”和动作方面都极为独特，并且都讲述着极具戏剧性的故事。加利与拉亨曼的关联：他们的形式都更为简洁，在细节设定上比巴赫和泽纳基斯的作品“单薄”得多，因而为大胆的演绎和诠释留下了很大空间。
Artist: Steuart Pincombe
Title: the cello in my life
Year Of Release: 2020
Label: 7 Mountain Records
Genre: Classical
Quality: flac lossless / flac 24bits - 192.0kHz
Total Time: 01:04:02
Total Size: 271 mb / 2.13 gb
WebSite: Album Preview
Tracklist
01. Suite V in C minor BWV 1011 I. Prelude
02. Suite V in C minor BWV 1011 II. Allemande
03. Suite V in C minor BWV 1011 III. Courante
04. Suite V in C minor BWV 1011 IV. Sarabande
05. Suite V in C minor BWV 1011 V. Gavotte I & II
06. Suite V in C minor BWV 1011 VI. Gigue
07. Sonata VI in F major I. Adagio
08. Sonata VI in F major II. Allegro
09. Sonata VI in F major III. Andante-Vivace
10. Sonata VI in F major IV. Giga
11. Projection 1
12. Intersection 4
13. Pression
14. Kottos
My love of sound is inextricably linked to the physical creation or mechanisms of sound. To put it another way, I love the correlation between sound and gesture. It doesn’t matter if those sounds are created directly or indirectly, by the intentional (direct) gesture of a person or the secondary (indirect) gesture of a tree branch scraping against an old rusty road sign on a windy day. Whether direct or indirect, sounds produced through gesture mean something. They can mean good things and bad things, ugly and beautiful, simple and complex, the list goes on nearly ad infinitum. What they all have in common is that they come from something beyond themselves. And it is that which is beyond them that gives them their meaning, even if they may also be appreciated simply ‘as they are’.
This understanding of sound is central to the music I have chosen for this album. Through the recording we move from the tonally sophisticated, developed, and embellished forms of gesture in Bach and Galli into the more simple and impersonal gestures explored in Feldman. These are followed by the pure mechanisms of gesture - both delicate and harsh - in Lachenmann, and finally by the brutal, over-embellished, super-gestural, hyper-harmonic colors in Xenakis. Although these pieces are a worthwhile journey without explanation, I feel inclined to make the listener aware of two cross-relationships: Bach in relation to Xenakis: they are both highly specific in ‘ornamentation’ and gesture and both tell extremely dramatic stories. Galli in relation to Lachenmann: both have simplified forms and much ‘thinner’ specifications than the Bach and Xenakis and thus leave much room for adventurous realization and interpretation.
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