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艺术家：棱镜弦乐四重奏乐团（PRISM Quartet）、十字路口合唱团（The Crossing）、唐纳德·纳利（Donald Nally）
作品名称：《加文·布赖尔斯：〈第五世纪〉》（Gavin Bryars: The Fifth Century）
发行年份：2016年
厂牌：ECM新系列唱片公司（ECM New Series）
音乐类型：古典音乐
音质：FLAC（分轨） 24比特 - 88.2千赫兹
总时长：50分12秒
总大小：856兆字节
网站：专辑预览
曲目列表
1. 《我们用双眼看见天堂》 [9分47秒]
2. 《正如存在一个无限的空间那般确定》 [5分37秒]
3. 《无限的空间就像画家的画桌》 [3分54秒]
4. 《永恒是时间与年代神秘的缺席》 [6分42秒]
5. 《永恒极大地增强了我们的喜悦》 [3分17秒]
6. 《他的无处不在是我们喜悦的源泉》 [5分50秒]
7. 《我们的新郎和我们的王无处不在》 [7分14秒]
演奏者：
棱镜弦乐四重奏乐团
蒂莫西·麦卡利斯特，高音萨克斯管
罗伯特·扬，中音萨克斯管
马修·利维，次中音萨克斯管
泰穆尔·沙利文，上低音萨克斯管
十字路口合唱团
唐纳德·纳利，指挥
约翰·格雷西亚，钢琴
在2016年这张唱片发行之前，ECM新系列唱片公司上一张专门收录作曲家加文·布赖尔斯作品的专辑是1994年的杰作《新生》（Vita Nova）。然而，尽管这两张唱片在发行时间上相隔甚远，但它们在哲学内涵上却有重叠之处。
托马斯·特拉赫恩（Thomas Traherne）在17世纪创作的《世纪默想》（Centuries of Meditations）孕育出了2014年的同名作品。这部作品为合唱团和萨克斯管四重奏而作，以一位长期不为人知的英国神学家的著作为基础，从辉煌的造物中提炼出他所称的 “上帝的本质”。特拉赫恩这部神秘论著的第五个也是最后一个 “世纪”，探讨了有限的实体与无限的空间、知识与无知、亲密与宏伟之间的关系：这些二元对立的概念，布赖尔斯在《康德在这个世界的旅程就这样结束了》（And So Ended Kant’s Traveling In This World，1997年）和《荣耀之山》（Glorious Hill，1988年）等作品中都有过探索。簧管乐器与声乐的结合既浑然一体又丰富多样，留下了一条独特得仿佛来自古代的轨迹。也就是说，萨克斯管四重奏在表现和功能上较为克制，它起到引导作用而非评注作用，并且在七个部分的第五部分达到了最完美的融合。由棱镜弦乐四重奏乐团和十字路口合唱团在唐纳德·纳利的指挥下进行的演奏，这些主题本身就极具分量，同时又紧密结合，就像一部神圣的文本，没有一个字是多余的。虽然整首作品的诗意都很丰富，但第三部分的开头几行文字最能体现这部作品的精神：“无限的空间就像画家的画桌，为即将涂抹其上的色彩准备好了底色和画布。” 这与《世纪默想》开篇所阐述的主题相呼应：“一本空白的书就像一个婴儿的灵魂，任何东西都可以写在上面。它能容纳一切，但目前却空无一物。” 布赖尔斯在他的和声中唤起了这种被尘世玷污的纯洁感，这让我们明白，当诠释被视为一种谦逊而非骄傲的行为时，不和谐音也可以是美丽的。而在这种谦逊中，布赖尔斯和特拉赫恩一样，找到了喜悦。
除了这部宏大的作品之外，还有篇幅较小的《两首爱情歌曲》（Two Love Songs）。这两首2010年为女声合唱团创作的歌曲，以作曲家个人喜爱的彼得拉克（Petrarch）的十四行诗为蓝本，在意大利牧歌传统和语言本身的旋律活力之间勾勒出一条虚线，这一点在第二首歌曲《孤独与沉思》（“Solo et pensoso”）中表现得尤为明显。在这首歌中，独唱者凯莉·安·比克斯比（Kelly Ann Bixby）、凯伦·布兰查德（Karen Blanchard）和丽贝卡·西勒（Rebecca Siler）宛如从退去的海洋中浮现的遗迹，在一个因渴望升华而激情干涸的世界里闪耀着光芒。
Artist: PRISM Quartet, The Crossing, Donald Nally
Title: Gavin Bryars: The Fifth Century
Year Of Release: 2016
Label: ECM New Series
Genre: Classical
Quality: FLAC (tracks) 24bit-88.2kHz
Total Time: 50:12
Total Size: 856 mb
WebSite: Album Preview
Tracklist:
1. We See The Heavens With Our Eyes [9:47]
2. As Sure As There Is A Space Infinite [5:37]
3. Infinity Of Space Is Like A Painter's Table [3:54]
4. Eternity Is A Mysterious Absence Of Times And Ages [6:42]
5. Eternity Magnifies Our Joys Exceedingly [3:17]
6. His Omnipresence Is Our Field Of Joys [5:50]
7. Our Bridegroom And Our King Being Everywhere [7:14]
Performers:
PRISM Quartet
Timothy McAllister, soprano saxophone
Robert Young, alto saxophone
Matthew Levy, tenor saxophone
Taimur Sullivan, baritone saxophone
The Crossing
Donald Nally, conductor
John Grecia, piano
Before this 2016 release, the last ECM New Series album dedicated solely to composer Gavin Bryars was the 1994 masterpiece Vita Nova. What both discs lack in temporal proximity, however, they make up for in philosophical overlap.
Thomas Traherne’s Centuries of Meditations, written in the 17th century, yields the 2014 title composition. Scored for choir and saxophone quartet, this setting of a long-unknown English theologian distills what he calls the “essence of God” from glorious creation. The fifth and final century of Traherne’s mystical treatise examines relationships between finite bodies and infinite space, knowledge and ignorance, intimacy and grandeur: dichotomies Bryars has explored in And So Ended Kant’s Traveling In This World (1997) and Glorious Hill (1988), among others. The combination of reeds and voices is as seamless as it is variegated, leaving behind a trail so distinct as to feel antique. That said, the saxophone quartet is subdued in its presence and function, serving as guide rather than commentator, and reaching peak integration in the fifth of seven sections. Performed by the PRISM Quartet and The Crossing, under the direction of Donald Nally, these motifs carry enough weight to exist on their own yet cohere like a sacred text in which is wasted not a single word. While the poetry is rich throughout, the first lines of section III epitomizes the spirit of the piece: “Infinity of space is like a painter’s table, prepared for the ground and field of those colours that are to be laid thereon.” This echoes a theme laid out in the opening of Centuries proper: “An empty book is like an Infant’s Soul, in which anything may be written. It is capable of all things, but containeth nothing.” Bryars evokes this very sense of purity corrupted by flesh in his harmonies, which remind us that dissonance can be beautiful when interpretation is treated as an act of humility rather than pride. And in that humility Bryars, like Traherne, finds joy.
Alongside this cathedral stand the smaller Two Love Songs. These 2010 settings for female choir of sonnets by Petrarch, a personal favorite of the composer, draw a dotted line between the Italian madrigal tradition and the melodic vibrancy of the language itself, which shimmers in the second song, “Solo et pensoso.” Here soloists Kelly Ann Bixby, Karen Blanchard, and Rebecca Siler arise like relics from a receding ocean in a world run dry with passion for want of transfiguration.
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