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艺人：若伦特·德·迈耶（Jolente De Maeyer）与尼古拉斯·肯德（Nikolaas Kende）
专辑名称：《遗痕》
发行年份：2020年
厂牌：邪恶企鹅唱片公司（Evil Penguin）
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：0小时56分49秒
总大小：272兆字节 / 1.03吉字节
网站：专辑预览
曲目单
01. 《意大利组曲》：第一首，引子
02. 《意大利组曲》：第二首，小夜曲
03. 《意大利组曲》：第三首，塔兰泰拉舞曲
04. 《意大利组曲》：第四首，加沃特舞曲及两个变奏曲
05. 《意大利组曲》：第五首，诙谐小曲
06. 《意大利组曲》：第六首，小步舞曲与终曲
07. 《24首小提琴与钢琴前奏曲》，作品46号，A小调第二首
08. 《24首小提琴与钢琴前奏曲》，作品46号，G大调第三首
09. 《24首小提琴与钢琴前奏曲》，作品46号，E小调第四首
10. 《24首小提琴与钢琴前奏曲》，作品46号，升F小调第八首
11. 《24首小提琴与钢琴前奏曲》，作品46号，升C小调第十首
12. 《24首小提琴与钢琴前奏曲》，作品46号，B大调第十一首
13. 《24首小提琴与钢琴前奏曲》，作品46号，降E小调第十四首
14. 《24首小提琴与钢琴前奏曲》，作品46号，升C大调第十五首
15. C大调幻想曲，作品D. 934（遗作，作品159号）：第一乐章，中板行板
16. C大调幻想曲，作品D. 934（遗作，作品159号）：第二乐章，小快板
17. C大调幻想曲，作品D. 934（遗作，作品159号）：第三乐章，小行板
18. C大调幻想曲，作品D. 934（遗作，作品159号）：第四乐章，活泼的快板
《遗痕》是若伦特·德·迈耶与尼古拉斯·肯德继2016年的《克罗采奏鸣曲》之后推出的第二张专辑。它反映了过去的遗痕如何激发并影响着我们这个瞬息万变的世界。
斯特拉文斯基和奥尔巴赫都曾面临他们所处时代和社会的困境，并且都决定离开故土俄罗斯，在另一个世界中寻求未来。斯特拉文斯基于1934年首次成为法国公民，在逃离欧洲即将爆发的战争并定居美国后，又于1939年成为美国公民。1991年，奥尔巴赫还不到二十岁，她在随团赴美巡回演出时，成为了最后一批从苏联叛逃的艺术家之一。
尽管这两位作曲家在创作中都形成了独特、个性且具有前瞻性的风格，这种风格常常受到现代社会以及他们新环境的启发，但我们仍能听出他们从过去的音乐以及俄罗斯背景中汲取了多少灵感。他们的风格在各地都广受赞誉；斯特拉文斯基成为了20世纪最重要的作曲家之一，而奥尔巴赫则被誉为21世纪的杰出作曲家之一。
相比之下，舒伯特的人生却截然不同。他从未离开过自己的出生地维也纳，并且在去世后才获得了应有的赞誉。他同样梦想着一个更美好的世界，但也只能在自己的音乐中抵达那个地方。他以维也纳音乐传统为基础，发展出了独特的创作风格，但在他短暂的一生中，他的作品在很大程度上被人误解。舒伯特在生命的最后一年创作了这首《幻想曲》，那是充满绝望与被拒的一年。舒伯特《幻想曲》的关键元素之一，是他早些时候根据弗里德里希·吕克特的一首诗创作的一首名为《向你问候》的爱情歌曲。
他一定对这首歌中苦乐参半的歌词产生了共鸣，其中透着一丝孤独与被抛弃的情绪。但是，尽管这首歌对于是否会有一个积极的结局并不明朗，《幻想曲》本身却以一种凯旋的风格结束。尽管舒伯特遭遇了种种不幸和误解，但对乌托邦世界的希望却一直伴随着他直到生命的尽头。这三位作曲家的音乐都激励着我们去梦想其他的世界，那些留存着过去遗痕的幻想世界。亨克·范·伦斯伯格拍摄的废弃之地的照片亦是如此。
就像音乐鼓励我们重温历史一样，他的照片和拍摄地点也有同样的效果，仿佛它们是来自过去的快照，将历史定格在了那一刻。
无论是一片荒凉的发电厂（我们上一张专辑的封面图案），还是一座破败的意大利宫殿（这张专辑的封面图案），这些照片都促使我们去探寻画面背后的故事，并以其戏剧性却又富有诗意的氛围震撼着我们。在当今这个动荡不安的世界里，过去的遗痕提醒着我们，激励着我们，并给予我们对未来的希望。
Artist: Jolente De Maeyer & Nikolaas Kende
Title: Remains
Year Of Release: 2020
Label: Evil Penguin
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 00:56:49
Total Size: 272 / 1.03 gb
WebSite: Album Preview
Tracklist
01. Suite Italienne I. Introduzione
02. Suite Italienne II. Serenata
03. Suite Italienne III. Tarantella
04. Suite Italienne IV. Gavotta con due Variazioni
05. Suite Italienne V. Scherzino
06. Suite Italienne VI. Minuetto e Finale
07. 24 Preludes for Violin and Piano, Op. 46 No. 2 in A minor
08. 24 Preludes for Violin and Piano, Op. 46 No. 3 in G Major
09. 24 Preludes for Violin and Piano, Op. 46 No. 4 in E Minor
10. 24 Preludes for Violin and Piano, Op. 46 No. 8 in F-Sharp Minor
11. 24 Preludes for Violin and Piano, Op. 46 No. 10 in C-Sharp Minor
12. 24 Preludes for Violin and Piano, Op. 46 No. 11 in B Major
13. 24 Preludes for Violin and Piano, Op. 46 No. 14 in E-Flat Minor
14. 24 Preludes for Violin and Piano, Op. 46 No. 15 in C-Sharp Major
15. Fantasy in C Major, D. 934 (Op. posth. 159) I. Andante moderato
16. Fantasy in C Major, D. 934 (Op. posth. 159) II. Allegretto
17. Fantasy in C Major, D. 934 (Op. posth. 159) III. Andantino
18. Fantasy in C Major, D. 934 (Op. posth. 159) IV. Allegro vivace
Remains is the second album by Jolente De Maeyer and Nikolaas Kende, after Kreutzer Sonata (2016). It is a reflection on how the remains of the past inspire and influence our fast-changing world.
Both Stravinsky and Auerbach faced the difficulties of their time and society and chose to seek a future in a different world by deciding to leave their homeland, Russia. Stravinsky first became a French citizen in 1934 and, after fleeing the upcoming war in Europe to settle in America, an American citizen in 1939. Auerbach was still in her teens when she was one of the last artists to defect from the Soviet Union during a concert tour in America in 1991.
Although both composers found a unique, personal and visionary style in their compositions, often inspired by modern times and their new surroundings, one can hear how much inspiration they found in music from the past and in their Russian background. They were acclaimed for their style everywhere; Stravinsky became one of the most important composers of the 20th century and Auerbach is celebrated as one of the leading composers of the 21st century.
How different, by contrast, was Schubert's life. He never abandoned his city of birth, Vienna, and only received the acclaim he deserved after his death. He too dreamed of a better world, but was only to reach that place in his music. He built on the Viennese musical tradition and developed a unique style of composing, but his compositions were largely misunderstood during his short life. Schubert composed his Fantasy in the last year of his life, a year full of despair and rejection. One of the key elements of Schubert's Fantasy is a love song he had written earlier called Sei mir gegrüsst, based on a poem by Friedrich Rückert.
He must have identified with the bittersweet lyrics of the song, which have a thread of loneliness and abandonment. But whereas the song remains unclear if a positive ending is possible, the Fantasy itself ends in a triumphant style. Despite all the misfortune and misunderstanding that befell Schubert, a hope for a utopian world remained with him to the end. The music of all three composers inspires us to dream of other worlds, fantasy worlds with remains of the past. So do Henk Van Rensbergen's photographs of abandoned places.
As the music encourages us to relive history, so do his photos and locations, as if they are snapshots from the past; freezing history in time.
Whether it is a desolate power plant (our previous album's artwork), or a decayed Italian Palazzo (this album's artwork), the photographs ask us to question the story behind the image and strike us with their dramatic, yet poetic atmosphere. In today's turbulent world, the remains of the past remind us, inspire us, and give us hope for the future.
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