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艺术家：玛格丽特·利特尔（Margaret Little）、西尔万·贝热龙（Sylvain Bergeron）
专辑名称：《甜蜜的回忆》（Doulce Mémoire）
发行年份：2014年
厂牌：ATMA古典唱片公司（ATMA Classique）
音乐类型：古典音乐
音质：FLAC无损格式 / 24比特-96.0千赫兹FLAC格式 + 小册子
总时长：01小时02分25秒
总大小：305兆字节 / 1.15吉字节
网站：专辑预览
曲目列表
01. 《装饰法论》：第一、第四、第八随想曲
02. 《基础上的变奏曲》
03. 《诺福克公爵》（保罗大教堂）
04. 《爱情的坚贞》
05. 《甜蜜的回忆》
06. 《装饰法论》：第二随想曲，《甜蜜的回忆》
07. 《低音独奏幻想曲》
08. 《科弗利的罗杰》
09. 《对〈约翰，现在来吻我〉的变奏曲》
10. 《装饰法论》：基于〈噢，我幸福的双眼〉的随想曲
11. 《装饰法论》：第五随想曲
12. 《另一个基础》
13. 《托利特的基础》
14. 《第八随想曲》
15. 《对〈尽管要离别〉的加花变奏》
16. 《甜蜜的回忆》（Dolce Memoy）
17. 《法罗内尔对〈福利亚舞曲〉基础的变奏曲》
我们当中有谁不会被爵士音乐家精湛的即兴演奏所震撼，又有谁在听到自己喜爱歌曲的全新改编版本时不会感到惊喜和着迷呢？毫不奇怪，我们的先辈们和我们一样。在16世纪和17世纪，即兴创作和变奏曲的艺术是每位音乐家必备技能的重要组成部分。有时甚至会有即兴演奏比赛，这和我们现在的戏剧即兴表演社团颇为相似。
我们的专辑名称取自16世纪最著名的牧歌之一——皮埃尔·桑德林（Pierre Sandrin）的《甜蜜的回忆》（Doulce Mémoire）。这首歌在整个16世纪都广受欢迎，无疑是因为其优美而简洁的旋律线条以及优雅的歌词。这首歌有超过30个版本，为各种乐器和乐器组合而作，从最简单的到最复杂的都有，我们从中挑选了三个版本。
第一个版本是弗朗索瓦·拉约勒（François Layolle）创作的一首简单的二重奏。第二个版本是迭戈·奥尔蒂斯（Diego Ortiz）为高音维奥尔琴所作的版本。1553年，他出版了一本关于加花变奏（一种装饰形式）的论著，并以各种装饰方式的示例作品加以说明。这些示例作品包括牧歌《甜蜜的回忆》和《噢，我幸福的双眼》。加花变奏是通过将旋律中的长音符分割成一系列较短的音符来实现的，这些短音符要么围绕着旋律音符，要么填充在该音符与下一个旋律音符之间的音程中。
奥尔蒂斯的加花变奏非常优美，但其他一些不太知名的作曲家也为我们留下了更为精妙复杂的示例。例如，文森佐·博尼齐（Vincenzo Bonizzi）在奥尔蒂斯之后一个世纪，也创作了这首著名牧歌的另一个版本。博尼齐的《甜蜜的回忆》（Dolce Memoy）是一个“巴斯坦达风格”（alla Bastarda）的版本。这个术语指的是一种风格，即将一首简单的四声部牧歌转化为一条经过装饰的单一旋律线。
这些装饰，同样是加花变奏，非常复杂，以至于原本的牧歌被彻底改头换面，变成了一首技巧高超的作品。牧歌《尽管要离别》（Ancor che col partire）也激发了多个版本的创作，其中里卡多·罗尼奥诺（Ricardo Rogniono）所作的装饰变奏是最具灵感的版本之一。
专辑开场的迭戈·奥尔蒂斯的作品是基于古代帕萨梅佐舞曲（passamezo antico）的低音线条创作的，古代帕萨梅佐舞曲的四和弦进行是当时意大利许多流行舞蹈的和声模式。乔瓦尼·巴萨诺（Giovanni Bassano）的《第八随想曲》（Ricercata Ottava）是一种被记录下来的即兴创作，而巴托洛梅奥·德·塞尔玛（Bartolomeo de Selma）的《低音独奏幻想曲》（Fantasia per Basso solo）则是对一条比奥尔蒂斯的低音线条更为复杂的低音线条所作的变奏曲。
约翰·普莱福德（John Playford）在1684年出版了《小提琴变奏曲集》（The Division Violin）。从这些“变奏曲”中，我们为您挑选了一些非常适合用低音维奥尔琴或高音维奥尔琴演奏的作品。这些变奏曲要么是基于一个固定低音（即像帕赫贝尔著名的《卡农》中那样重复的低音线条）创作的，要么是基于像《约翰，现在来吻我》这样的流行歌曲创作的。这种风格让人想起魁北克传统小提琴手的演奏风格！在尼古拉斯·拉尼尔（Nicholas Lanier）的歌曲《爱情的坚贞》中，我们也发现了类似的下行低音线条，这里用鲁特琴演奏并进行了装饰。专辑结尾的《法罗内尔对基础的变奏曲》（Faronells Division on a Ground），则是基于广为人知的《福利亚舞曲》（La Folia）主题创作的。
玛格丽特·利特尔，中提琴演奏者
西尔万·贝热龙，大鲁特琴演奏者
Artist: Margaret Little, Sylvain Bergeron
Title: Doulce Mémoire
Year Of Release: 2014
Label: ATMA Classique
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:02:25
Total Size: 305 mb / 1.15 gb
WebSite: Album Preview
Tracklist
01. Trattado de glosas: Recercada prima, quarta, ottava
02. Divisions on a Ground
03. The Duke of Norfolk (Paul's Steeple)
04. Love's Constancy
05. Doulce Mémoire
06. Trattado de glosas: Recercada seconda, "Doulce Mémoire"
07. Fantasia Basso solo
08. Roger of Coverly
09. Divisions upon "John Come Kiss Me Now"
10. Trattado de glosas: Recercada sobre, "O felicci ochi miei"
11. Trattado de glosas: Recercada quinta
12. Another Ground
13. Tollets Ground
14. Ricercata Ottava
15. Diminutions sur "Ancor che col Partire"
16. Dolce Memoy
17. Faronells Division on Ground, "Folia"
Who amongst us has not been blown away by the virtuoso improvisations of jazz players, or surprised and charmed on hearing a new arrangement of a favorite song? Not surprisingly, our predecessors were like us; in the 16th and 17th centuries, the art of improvising, of making variations, was an essential component of every musician’s tool kit. At times there were even improvising competitions, not unlike our theatre improv leagues.
Our program takes its title from that of one of the most celebrated madrigals of the 16th century, Doulce Mémoire by Pierre Sandrin. The immense popularity this song enjoyed throughout its century was due, surely, to beautiful and simple melodic lines and elegant lyrics. Of the more than 30 versions of this song written for all kinds of instruments and combinations, from the simplest to the most complex, we have chosen three.
The first is a simple duo by François Layolle. The second is a version for treble viol by Diego Ortiz. In 1553, he published a treatise on diminutions (a form of embellish- ment), illustrated by sample pieces embellished in various ways. These examples included the madrigals Doulce Mémoire and O Felici occhi miei. Diminutions were made by dividing long notes of the melody into a series of shorter notes either sur- rounding the melody note or filling up the interval between it and the next melody note.
Ortiz’s diminutions are of great beauty, but other less well known composers have left us examples of even greater elaboration. Vincenzo Bonizzi, for example, who, a century after Ortiz, made another version of the celebrated madrigal. Bonizzi’s Dolce Memoy is an alla Bastarda version. The term designates a style in which a simple four-voice madrigal is transformed into a single, embellished, melodic line.
The embellishments, still diminutions, are so complex that the original madrigal is unrecognizably transformed into a virtuoso piece. The madrigal Ancor che col partire also inspired multiple versions, with ornamentations of which those of Ricardo Rogniono are among the most inspired.
The Diego Ortiz pieces which open the program were composed on the bass line of the passamezo antico, a four-chord progression that which served as the harmonic pattern for a number of popular dances of the time in Italy. Giovanni Bassano’s Ricercata Ottava is a kind of improvisation committed to paper, while Bartolomeo de Selma’s Fantasia per Basso solo proposes variations on a bass line that is more elabo- rate than Ortiz’s.
John Playford published The Division Violin in 1684. From among these “divisions” we have chosen for you some that sit very well on bass or treble viol. These variations were written on a ground (a repeating bass line, as in Pachelbel’s celebrated Canon), or on popular songs such as John come kiss me now. The style is reminiscent of that of the traditional fiddlers of Quebec! We find a similar descending bass line in Love’s Constancy, a song by Nicholas Lanier, here played and ornamented on the lute. Faronells Division on a Ground, which ends our program, is based on the hugely celebrated theme of La Folia.
Margaret Little, viola
Sylvain Bergeron, archlute
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发表于 2025-3-21 08:30:58