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艺术家：克劳迪娅·焦托利（Claudia Giottoli）、拉斐尔·达涅洛（Raffaele D'Aniello）、保罗·普利蒂（Paolo Puliti）、娜塔莉亚·贝内代蒂（Natalia Benedetti）、莱昂纳多·拉马多里（Leonardo Ramadori）
专辑名称：谢尔斯：长笛作品全集（Scelsi: Complete Flute Music）
发行年份：2016年
厂牌：辉煌古典（Brilliant Classics）
音乐类型：古典乐
音质：FLAC无损 / 24位-44.1kHz FLAC
总时长：01:09:59
总大小：305/615 MB
官网：专辑预览
曲目列表
1. 《Hyxos》：I. 安静地（Tranquillo）
2. 《Hyxos》：II. 稍快地（Con moto）
3. 《Hyxos》：III. 安静地（Tranquillo）
4. 《长笛与单簧管组曲》：I. —
5. 《长笛与单簧管组曲》：II. —
6. 《长笛与单簧管组曲》：III. 极快地（Prestissimo）
7. 《长笛与单簧管组曲》：IV. —
8. 《为长笛而作的码头》（Quays for Flute）
9. 《为短笛与双簧管而作的Rucke di Guck》：I. —
10. 《为短笛与双簧管而作的Rucke di Guck》：II. —
11. 《为短笛与双簧管而作的Rucke di Guck》：III. —
12. 《为长笛与单簧管而作的Ko-Lho》：I. —
13. 《为长笛与单簧管而作的Ko-Lho》：II. —
14. 《为长笛而作的Tetratkys》：I. —
15. 《为长笛而作的Tetratkys》：II. （对应《皮威尔》）（Corresponding to Pwyll）
16. 《为长笛而作的Tetratkys》：III. 极快速地（Molto veloce）
17. 《为长笛而作的Tetratkys》：IV. —
18. 《为长笛与钢琴而作的克里希纳与拉达》（Krishna e Rada for Flute and Piano）
克劳迪娅·焦托利、拉斐尔·达涅洛等 - 谢尔斯：长笛作品全集（2016）[高解析度]
长笛堪称诠释贾钦托·谢尔斯（Giacinto Scelsi，1905-1988）独特美学的理想乐器：它是一种“无需言语的声音”，音色空灵，音高与音量的细微变化无穷无尽，不受小节线或自然音阶十二个半音的束缚。
正如谢尔斯本人从不接受采访、不担任任何职位，甚至避免拍照，选择过一种贵族式的隐居生活，他的音乐也独树一帜，不属于任何流派，几乎不受传统规则的约束。早期作品《码头》（Quays）和《Tetratkys》看似即兴创作，而他的许多作品由他人记谱——作曲家比大多数同行更直白地将自己视为音乐流经的“管道或容器”，仿佛音乐拥有独立于他且先于他存在的生命：一位不协和音的神秘祭司。
这些独奏作品中蜿蜒的装饰音在《Rucke di Guck》中化作跳跃的精灵，尽管仍在序列派生的和声中行进。到《Ko-Lho》（1976年）时，长笛与单簧管的音色已融合成柔和闪烁的整体，与其说是音乐或乐器的色彩，不如说是纯粹的氛围，如云端般充满光亮。正如长笛演奏家克劳迪娅·焦托利在专辑内页注释中所言（这张珍贵专辑的竞品唱片均为全价发行），《克里希纳与拉达》（Krishna e Radhai，1986年）回归了通常被认为是二重奏形式本质的“对立概念”：“标题指的是神祇克里希纳与他钟爱的配偶拉达所代表的男女原则的形而上结合。”
贾钦托·谢尔斯（1905-1988）是意大利先锋派最具魅力的作曲家之一。他探索声音的本质，有时创作仅围绕一个音高的音乐，对其进行微幅振荡、极端力度和音色变化的处理。这套专辑收录了以长笛为主奏乐器的全部作品：从长笛独奏、与其他乐器（单簧管、钢琴、双簧管）的二重奏，到与两面锣和牛铃的合奏。
Artist: Claudia Giottoli, Raffaele D'Aniello, Paolo Puliti, Natalia Benedetti, Leonardo Ramadori
Title: Scelsi: Complete Flute Music
Year Of Release: 2016
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz
Total Time: 01:09:59
Total Size: 305 / 615 mb
WebSite: Album Preview
Tracklist
01. Hyxos: I. Tranquillo
02. Hyxos: II. Con moto
03. Hyxos: III. Tranquillo
04. Suite for Flute and Clarinet: I. —
05. Suite for Flute and Clarinet: II. —
06. Suite for Flute and Clarinet: III. Prestissimo
07. Suite for Flute and Clarinet: IV. —
08. Quays for Flute
09. Rucke di Guck for Piccolo and Oboe: I. —
10. Rucke di Guck for Piccolo and Oboe: II. —
11. Rucke di Guck for Piccolo and Oboe: III. —
12. Ko-Lho for Flute and Clarinet: I. —
13. Ko-Lho for Flute and Clarinet: II. —
14. Tetratkys for Flute: I. —
15. Tetratkys for Flute: II. (Corresponding to Pwyll)
16. Tetratkys for Flute: III. Molto veloce
17. Tetratkys for Flute: IV. —
18. Krishna e Rada for Flute and Piano
Claudia Giottoli, Raffaele D'Aniello, Paolo Puliti, Natalia Benedetti, Leonardo Ramadori - Scelsi: Complete Flute Music (2016) [Hi-Res]
The flute is ideally equipped as a mouthpiece for the singular aesthetic of Giacinto Scelsi (1905-1988): a voice but speaking no words, ethereal in tone, capable of infinite gradations of pitch and volume, unconfined by barlines or the twelve semitones of the diatonic scale.
Just as the man himself gave no interviews, took no posts and even avoided having his photograph taken, but chose a life of aristocratic isolation, his music stands apart, belonging to no school and subject to few conventional rules. The early Quays and Tetratkys can appear improvised, and much of his music was notated by intermediaries: the composer saw himself more literally than most of his colleagues as a channel or vessel through whom music flowed, as though it had a life independent of and predating him: a mystic priest of dissonance.
The sinuous melismas in these solo works are accelerated into dancing sprites in Rucke di Guck, though still moving in serially-derived harmony. By the time of Ko-Lho (1976), the sonorities of flute and clarinet have been brought together to form a gently shimmering whole, not so much of music or even instrumental colour as pure atmosphere, light-filled like a cloud. As the flautist Claudia Giottoli remarks in her own booklet notes for this valuable album, of which the only competing titles on record are at full price, Krishna e Radhai (1986) returns to the concept of antithesis which is usually thought intrinsic to the duo form: The title refers to the metaphysical union of the male and female principles represented by the god Krishna and his favourite consort Rada.
Giacinto Scelsi (1905-1988) was one of the most fascinating composers of the Italian Avant Garde. He experimented with the essentials of sound, sometimes writing music based around only one pitch, subjecting it to micro-oscillations, extreme dynamics and changes of timbre.
This set contains the complete music in which the flute is featured: from flute solo, duos with different other instruments (clarinet, piano, oboe), and: in ensemble with two gongs and cow bell.
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发表于 2025-5-23 07:56:47