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艺术家：露西·雷尔顿
作品名称：《蓝色面纱》
发行年份：2025年
厂牌：意识形态唱片公司（Ideologic Organ）
音乐类型：现代古典音乐、氛围音乐
音质：FLAC格式（分轨）/ 24比特-48千赫兹 FLAC格式（分轨）
总时长：40分钟
总大小：202 / 434兆字节
网站：专辑预览
曲目列表
1. 阶段一（4分19秒）
2. 阶段二（4分33秒）
3. 阶段三（8分58秒）
4. 阶段四（5分16秒）
5. 阶段五（2分54秒）
6. 阶段六（4分51秒）
7. 阶段七（9分11秒）
这是首张记录音乐家兼作曲家露西·雷尔顿个人大提琴作品的专辑。时长40分钟的作品《蓝色面纱》在巴黎的圣神教堂录制，它邀请听众进入一个经过精确调音的共鸣状态领域：这些状态通过雷尔顿对大提琴最微妙声学特征的精心探索得以呈现，而这些特征又与大脑中具身的注意力和想象模式在和声上相互交织。
《蓝色面纱》源自雷尔顿与大提琴的亲密联系，并在这种联系中得以维持，最终又回归其中。这是一种聆听方式，能够让人更深入地感受和声共鸣，为心灵与声音的直接碰撞开辟了空间。
雷尔顿对和声感知的探索实践源于对音程和和弦声音的物理特性、纹理特征、摩擦程度以及内部脉动的关注。在大提琴本身、她自身以及它们共同的振动空间所产生的共鸣引导下，雷尔顿在创作时顺势而为，给予声音它们所需要的东西：纯净纹理的声音表现为一种穿越时间的透明感，粗糙纹理的声音则标志着维度密集空间的区域。
雷尔顿创造性且高度精致地运用纯律和声，以一种独特的方式改变了声音的内部运动，这暗示了一种聆听模式，即主动构建声音所暗示或完全缺失的意象，而不仅仅是欣赏那些完全呈现的声音。这种积极的 “共听” 模式，雷尔顿戏称其为 “跟唱音乐”，让听众能够在音乐逐渐穿越丰富饱和的和声想象领域时，自觉地参与到音乐的动态中。就如同《蓝色面纱》中精确调音的音调在融合成多面统一体时失去其个体性一样，聆听时的参考和识别结构也会溶解为无名的强度波，不断在听众身上展开并与之融合。
《蓝色面纱》是对调音内在世界的深入探索成果，这一探索反过来又受到雷尔顿对凯瑟琳·兰姆和埃伦·阿克布罗音乐的理解、她与卡莉·马龙和斯蒂芬·奥马利的合作，以及她对玛丽安娜·阿马赫、莫顿·费尔德曼等人作品的演绎实践的影响并从中发展而来。
Artist: Lucy Railton
Title: Blue Veil
Year Of Release: 2025
Label: Ideologic Organ
Genre: Modern Classical, Ambient
Quality: FLAC (tracks) / 24bit-48kHz FLAC (tracks)
Total Time: 40:00
Total Size: 202 / 434 MB
WebSite: Album Preview
Tracklist:
1. Phase I (4:19)
2. Phase II (4:33)
3. Phase III (8:58)
4. Phase IV (5:16)
5. Phase V (2:54)
6. Phase VI (4:51)
7. Phase VII (9:11)
The first release to document the solo cello work of musician and composer Lucy Railton, the 40-minute composition Blue Veil recorded at Église du Saint-Esprit in Paris invites listeners into the realm of precision-tuned states of resonance: states made manifest through Railton’s careful traversal of her cello's most subtle acoustic characteristics as they harmonically interlock with mind’s embodied modalities of attention and imagination.
Blue Veil arises out of, is sustained in and finally dissolves back into Railton’s momentary presence with her intimate connection to the cello, a way of hearing that allows for a deeper engagement with harmonic resonance, one that opens a space for immediate encounters of mind and sound.
Railton’s exploratory practice of harmonic perception emerges from a focus on the physical qualities of intervallic and chordal sounds, their textural qualities, degrees of friction, and inner pulsations. Composing in the moment guided by resonances within the cello’s body, her own, and their shared vibrational space, Railton moves through Blue Veil by giving sounds what they ask for: sounds of pure texture manifesting as a move through temporal transparency, sounds of rough texture marking regions of dimensionally dense space.
Railton’s creative and highly refined use of just intonation harmony deforms sound's inner movements in ways that suggest a mode of listening that actively supplies imagery of sounds implied or completely absent rather than merely savouring those fully present. This active mode of “listening-with”, playfully and semi-metaphorically referred to by Railton as “sing-along music”, allows listening to reflexively participate in the music’s movement as it gradually passes through richly saturated domains of harmonic imagination. And just as the precision-tuned tones of Blue Veil lose their individuality when fusing multifaceted uniformity, listening’s structures of reference and recognition dissolve into nameless waves of intensity, continuously unfolding themselves upon and merging with the listener.
Blue Veil is the result of a deep exploration of the inner worlds of tuning, an undertaking in turn informed by and emerging out of Railton’s realisations of the music of Catherine Lamb and Ellen Arkbro, her collaborative work with Kali Malone and Stephen O’Malley as well as her interpretive practice in performing the work of Maryanne Amacher, Morton Feldman and others.
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