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艺人：贝尔纳特·比万科斯、拉脱维亚广播合唱团
专辑名称：《比万科斯：安魂曲》
发行年份：2016年
厂牌：诺伊唱片公司（Neu Records）
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 96.0千赫兹
总时长：1小时37分52秒
总大小：396兆字节 / 1.56吉字节
网站：专辑预览
曲目单
CD1
01. 《永恒》
02. 《真福八端》
03. 《爱，时光》
04. 《哦，光辉的童贞女》
05. 《让我死去》
CD2
01. 《吹灭你的蜡烛》
02. 《哦，至福之光》
03. 《永恒之光》
一位专门研究1800年以前历史曲目的音乐家来写一位当代年轻作曲家的创作成果，这无疑是不同寻常、出乎意料的。我最初发现贝尔纳特·比万科斯的音乐，要感谢拉脱维亚广播合唱团演唱的精彩合唱作品双碟专辑《白》（去年我的朋友路易斯·维拉马霍送给我的）；几个月前，确切地说是3月6日，我有幸亲自见到了比万科斯，并在巴塞罗那圣玛利亚·德尔·皮大教堂那场令人难忘的音乐会上聆听了他的一些杰出作品，那场音乐会是为了向我的朋友、备受尊敬的作曲家阿尔沃·派尔特致敬（他今年迎来了八十岁生日）。
一场新的音乐复兴
从最早期开始，音乐就作为一种基本语言成为人类生活的一部分；事实上，音乐是我们最早能感知的语言。我们知道，孩子们在理解词语的含义很久之前，就能通过我们说话时的语调明白我们想表达的意思。我们现在知道，从怀孕第十六周起，胎儿就会对音乐刺激做出面部和舌头的特定动作反应。
但在音乐陪伴人类的这几十万年里，其历史的留存见证却只是很小一部分，因为音乐记谱法的发明，以及音高和特定节奏的定义，仅仅发生在大约一千三百年前。从那以后，作曲家们努力留下带有或多或少具体指示的手稿或乐谱，从中可以解读出他们的想象。但所有这些手稿和乐谱只有在被人声或乐器赋予具体形式的那一刻，才真正具有了鲜活的生命力。
正是这神奇的一刻，凭借演奏者的才华，让我们能够感知到音乐的全部美感和情感。因此，每一场音乐表演总是一个现代的当代事件，因为现场音乐只存在于由人类的声音或乐器产生的声波赋予其可听形式的瞬间；也正是同样的限制，同时使音乐成为所有艺术中最具人性和最具精神性的艺术。
音乐也是最具普遍性的表达和交流方式之一，衡量其重要性和意义的标准，并非依据语言演变的标准（从历史和进步的角度来看），而是根据其表达强度、内在丰富性和人文性的程度。直到19世纪初，人们还认为音乐创作艺术中存在着进步，每个人都相信每一位新的音乐天才带来的改进，会让已成名大师的作品变得无关紧要、陈旧过时。因此，每一层新的现代性都掩盖了古代大师们的杰作，导致它们被遗忘。
但这一切在1829年发生了改变，当时一位20岁的年轻指挥家和作曲家费利克斯·门德尔松，在作曲家去世后首次上演了J.S.巴赫的《马太受难曲》。人们认识到，尽管这部作品已有一百多年的历史，但它仍是一部杰作，这打破了这样的偏见，并开启了对历史作品的重新发掘，这项工作一直持续到今天，而且比以往任何时候都更加积极。
几年后，在19世纪末——就在路德维克·莱泽尔·柴门霍夫创造并推出“世界语”（1887年），一种旨在通用且摆脱民族语言的新语言的同时——在音乐创作领域也发生了显著的变化，比如阿诺德·勋伯格和安东·韦伯恩摒弃了调性（以及对民族风格的摒弃），或者在1913年，伊戈尔·斯特拉文斯基的《春之祭》带来的冲击。
在随后出现的各种流派，以及在整个20世纪（和21世纪初）占据主导地位的或多或少的先锋派倾向中，可以说我们这个时代“高雅”音乐的主要特征之一，就是不断追求技术和形式上的创新，而且常常带有刻意的极端决裂的意图。因此，似乎只有通过与承载着美与和谐的传统影响和过去的语言决裂并彻底摒弃它们，才能达到现代性。
幸运的是，由于发现与创造、恢复以及最终对每一件艺术品的永恒价值的认可这一复杂的历史过程，我们看到，如今对我们拥有千年历史的音乐遗产的更深入了解，能够成为当代音乐创作实践中的灵感和复兴元素；我们这个时代的新作曲家正广泛地融入到我们在21世纪所经历的这场真正的新音乐复兴之中。
我认为，贝尔纳特·比万科斯作品中创新的丰富性，是这场新音乐复兴活力的最清晰、最引人注目的证明。
他非凡的才华和深厚的精神内涵服务于一种新语言的创造过程，尽管这种语言复杂且现代，却能够向我们传递纯粹的美和情感。也许这就是任何真正的艺术作品中创造力的伟大奥秘，能够在技术与情感、美与精神之间实现完美的平衡，创造出一个新的声音网络，当这些声音成为我们自身的一部分时，将永远触动我们的心灵。
Artist: Bernat Vivancos, Latvian Radio Choir
Title: Vivancos: Requiem
Year Of Release: 2016
Label: Neu Records
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 01:37:52
Total Size: 396 mb / 1.56 gb
WebSite: Album Preview
Tracklist
CD1
01. Aeternam
02. Les Béatitudes
03. L'amour, le temps
04. O Virgo Splendens
05. Lasciatemi morire
CD2
01. Souffle ta bougie
02. O Lux Beata
03. Lux Perpetua
It is certainly unusual, or unexpected, that a musician specialised in the historical, pre-1800 repertoire should write about the creative work of a young composer of our own time. I discovered the music of Bernat Vivancos, firstly, thanks to the magnificent double CD “Blanc” with choral works performed by the Latvian Radio Choir, (given to me last year by my friend Lluís Vilamajó); and a few months ago, on 6th March to be exact, I was lucky enough to meet Vivancos personally and to hear some of his remarkable pieces on the occasion of the memorable concert in the Basilica of Santa Maria del Pi in Barcelona; a concert in homage to my friend, the much admired composer Arvo Pärt (who this year celebrated his eightieth birthday).
A new musical Rennaissance
Since earliest times, music has formed part of human life as a fundamental language; music is, in fact, the first language to which we are sensitive. We know that children, long before they understand the meaning of words, know what we want to say when we speak to them thanks to the inflection of our voice. We now know that, from the sixteenth week, a fetus reacts to musical stimulus with specific movements of face and tongue.
But in all these hundreds of thousands of years in which music has accompanied humanity, testimony remains of only a very small part of its history, since the invention of musical notation, with the definition of pitch and specific rhythms, only happened some one thousand three hundred years ago. Since then, composers have made the effort to leave manuscripts or scores with more or less concrete indications, from which it is possible to interpret what they imagined. But all these manuscripts and scores only achieve a real and living dimension at the moment that they are given specific form by voices or instruments.
This is the magical moment that enables us to perceive their full beauty and emotion, thanks to the performer’s talent. Thus, every musical performance is always a modern contemporary event, given that live music only exists at the very instant in which sound waves produced by the human voice or instruments give it audible form; it is this same limitation which, simultaneously, makes music the most human and the most spiritual of all the arts.
Music is, also, one of the most universal means of expression and communication, and the measure of its importance and of its significance is not determined according to the criteria of the evolution of language – in the sense of history and progress – but in terms of the degree of its expressive intensity, of its inner richness and humanity. Until the beginning of the nineteenth century it was thought that progress existed in the art of musical composition, and everyone believed that each new musical genius introduced improvements that turned the compositions of the established masters into irrelevant, archaic works. Therefore each new layer of modernity obscured the marvels of the old masters, causing them to be forgotten.
But all this changed in 1829, when a young conductor and composer of twenty years of age, called Felix Mendelssohn, performed, for the first time since the composer’s death, J. S. Bach’s St. Matthew Passion. The recognition that this work was a masterpiece in spite of its being more than a hundred years old, destroyed such prejudice and initiated the recovery of historical works, a task that still continues today, more energetically than ever.
Some years later, at the end of the nineteenth century, – at the same time that Ludwik Lejzer Zamenhof created and presented “esperanto” (1887), a new language intended to be universal and freed from national tongues-, in the world of musical creativity remarkable changes were also occurring, such as the abandonment of tonality (as well as the rejection of national styles) by Arnold Schoenberg and Anton Webern, or, in 1913, the impact of The Rite of Spring (Le Sacre du printemps) by Igor Stravinsky.
In the various schools that subsequently arose, and the more or less avant-garde tendencies which imposed themselves throughout the twentieth century (and the beginning of the twenty-first century), it can be claimed that one of the principle characteristics of the “cultured” music of our time has been the search for constant technical and formal innovation, often with the deliberate intention of extreme rupture. It seemed, therefore, that modernity could only be reached with the notion of a break with, and total rejection of, traditional influences and past languages, bearers of beauty and harmony.
Fortunately, thanks to the complex, historical process of discoveries and creation, of recovery and, finally, also, of recognition of the atemporal value of every work of art, we see that, today, a better knowledge of our thousand-year- old musical heritage can act as an element of inspiration and revitalisation in the creative practice of contemporary music; new composers of our own day are being widely incorporated into this veritable, new musical Renaissance that we are experiencing in the twenty-first century.
The innovative richness of the works by Bernat Vivancos are, I believe, the clearest and most striking proof of the vitality of this new musical Renaissance.
His extraordinary talent and his profound spirituality are placed at the service of a process that is the invention of a new language which, in spite of its complexity and modernity, is capable of transmitting to us pure beauty and emotion. Perhaps this is the great mystery of creativity in any true work of art, in one capable of achieving a perfect balance between technique and emotion, between beauty and spirituality, creating a web of new sounds which, becoming our own, will never cease to move us.
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发表于 2025-3-22 08:20:37