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艺术家：西尔维娅·贝尔菲奥雷
标题：库图拉：非洲大陆当代钢琴音乐，第二卷
发行年份：2025年
厂牌：达芬奇古典
风格：古典钢琴
音质：无损FLAC（音轨）
总时长：00:48:48
总大小：146兆字节
官网：专辑预览
曲目列表
01. 摇篮曲
02. 米洛蒂-拉格里马斯
03. 夜之震颤
04. 选自《非洲印象》，第19号《非洲音乐》：第一首，晨曲
05. 选自《非洲印象》，第19号《非洲音乐》：第三首，水之精灵的祈祷
06. 选自《非洲印象》，第19号《非洲音乐》：第四首，哀鸣的鸟
07. 哀悼
08. 加盐的方法
安德烈·班甘布拉·文杜（刚果，1953年）
文杜1953年出生于金沙萨，曾在国家艺术学院学习，并在那里教授音乐理论。他在CEDAR从事音乐研究，还担任过扎伊尔国立大学INA实验乐团“迈沙”的团长。1991年，他在上海音乐学院获得音乐作曲艺术硕士学位。后来，他于1991-1992年在巴黎高等研究实践学院和索邦大学参加研讨会，并获得了巴黎联合国教科文组织国际音乐委员会的认可。他曾参加过在维也纳、魁北克、阿姆斯特丹、剑桥和约翰内斯堡举办的国际音乐节。
关于他的《摇篮曲》，他解释道：“我的灵感来自一首刚果民歌。实际上，这段音乐描绘了一位刚果（金沙萨）的母亲，她背着孩子，一边唱着摇篮曲，一边做饭。这种习俗在刚果（金沙萨）很常见。”
纳比尔·本·阿卜杜勒贾利勒（摩洛哥，1972年）
本·阿卜杜勒贾利勒是一位作曲家和音乐学家，拥有基辅和斯特拉斯堡的高级学位。他是一位独立作曲家，职业生涯中受到多种传统的影响，不承认不同音乐创作方法之间存在人为的界限。他的作品在国际上演出过，包括管弦乐、室内乐和钢琴音乐。除了以形式复杂为特点的“古典”风格外，这位作曲家还对自然形态的传统阿拉伯音乐表现出浓厚的兴趣。他最著名的作品是《诞生》，以艾哈迈德·图菲克的诗为蓝本。他亲自在拉巴特的穆罕默德六世伊玛目培训学院指挥了这首作品，后来又在卡萨布兰卡指挥过。他曾作为钢琴家与 Zakharif 器乐合奏团合作演出。作为音乐学家，他探索了多个研究领域——技术、美学和历史——无论是关于摩洛哥、阿拉伯还是西方音乐。随着时间的推移，他的学术重点转向了音乐、哲学和宗教的交叉领域，最终体现在他的哲学小说《伊本·亚克赞的回归》中。
《夜之震颤》中充满了中东的调式特征。这首复杂的作品具有丰富的表现力和戏剧性。音乐的神秘色彩尤为明显——实际上，几乎带有宗教色彩。标题本身直接源于《古兰经》中《披衣的人章》的一节：夜祷更有力量。然而，对作曲家来说，重要的不是祈祷本身，而是神秘的夜间影响。一种悲剧性的宿命感也非常强烈——从作品开头的摇篮曲节奏就开始了。作曲家承认，柴可夫斯基的歌剧《约兰塔》的最后一幕让他深受触动，在那一幕中，女主角在完全疯狂的状态下，为她垂死的爱人唱着摇篮曲。因此，在夜晚的强大影响下，沉思和精神集中本身被一种深深的存在焦虑所困扰——最终被来自另一个维度的光芒“超越”，然后再次以开头的摇篮曲结束。
斯特凡诺斯·格罗夫（南非，1922-2014年）
格罗夫被认为是南非最重要的作曲家之一。他以将西方古典传统与非洲本土音乐融合而闻名，帮助塑造了独特的南非艺术音乐身份。1922年出生于伯利恒，他在开普敦学习，后来在哈佛大学师从沃尔特·皮斯顿，还向艾伦·科普兰学习。在美国巴尔的摩的皮博迪音乐学院任教十多年后，他于1972年回到南非，加入比勒陀利亚大学，对当地的音乐教育产生了重大影响。1984年是一个转折点，非洲街头音乐启发他发展出一种原创的以非洲为中心的风格，超越了表面元素。他是第一位真正将非洲黑人音乐融入自己作品核心的作曲家。格罗夫还积极从事写作和音乐评论工作。
《非洲印象》是一套音乐组曲，被设想为一个声音绘画画廊，每一幅都捕捉了非洲生活的一个方面。
《晨曲》通过细腻的音色唤起了原始自然中黎明的清新。《水之精灵的祈祷》反映了对神秘河流生灵的古老信仰，通过仪式性和神奇的音景得以呈现。
《哀鸣的鸟》描绘了笼中野鸟的无声悲伤，重复的和弦象征着它们的禁锢和失去的自由。
贾马尔·阿卜杜勒-拉希姆（埃及，1924-1988年）
埃及最杰出的作曲家之一。1924年出生于开罗一个传统的音乐家庭。他早年就发现了自己对音乐的热情，开始自学钢琴，直到他进入开罗大学学习历史，在那里他第一次有机会跟随当地的欧洲教师同时学习和声和钢琴。一份政府奖学金使他得以前往德国，在弗莱堡音乐学院跟随根茨默学习作曲（1951-1957年），因此他是第一位在欧洲接受正规作曲教育的埃及人。回国后，他开始在开罗音乐学院任教，并最终在那里建立了阿拉伯世界第一个作曲系。几位著名的埃及和阿拉伯作曲家都曾师从于他，并从他长期以来寻求独特风格的努力中获益，这种风格融合了埃及传统和民间音乐的精髓与欧洲当代技巧。他的美学世界富有诗意、沉思、怀旧，同时又充满活力。德国评论家施图肯施密特将他的音乐风格描述为“东方精神与西方技巧的融合，比巴托克的风格更进一步”。
《致阿拉伯烈士》是一部两乐章的钢琴作品，源自作曲家为纪录片《耶路撒冷的面孔》创作的音乐，该纪录片讲述了巴勒斯坦的绘画和雕塑。作曲家对这个主题的同情，使他将一些配乐的想法重新编写成他的一首重要钢琴作品。《哀悼》是一首阴郁的作品，开头听到的一个占主导地位的增四度动机，在不和谐和声的伴奏下发展。另一个悲伤的主题出现在半音固定低音之上，使用了第一个动机的音程。音乐织体稳步变得丰富和紧迫，展现了作曲家对紧凑形式的掌握。
埃斯特旺·菲利佩·希萨诺（莫桑比克，1994年）
作为莫桑比克作曲家，希萨诺曾在爱德华多·蒙德拉内大学学习地质学。他是Xiquitsi项目的音乐学生（合唱、指挥和作曲），该项目是一个非营利项目，通过在马普托集体教授音乐来促进社会包容和职业培训，他在那里教授音乐入门课程。在他的作品中，他试图探索多种乐器、技巧和织体，从传统到当代，包括电子音乐。他的作品曾在马普托的古典音乐季演出，并已在多个国家上演，如日本、佛得角、德国、意大利、英国、巴西、葡萄牙、挪威和南非。
“米洛蒂”在昌加纳语和葡萄牙语中意为“眼泪”，这首钢琴作品表达了2020年莫桑比克武装袭击带来的动荡。这些袭击与德尔加杜角发现天然气储备有关，与此同时，2019年以来的飓风和洪水也造成了毁灭性影响。这部作品分为三个乐章，融合了各种织体和情感，唤起了泪水浸湿的微笑——米洛蒂的记忆。
迈克尔·布莱克（南非，1951年）
布莱克出生于开普敦，曾在约翰内斯堡和伦敦学习，并在格雷厄姆斯敦的罗兹大学获得博士学位。种族隔离时期，他逃避了征兵，于1977年移居伦敦，1998年回到南非，在罗兹大学任教。他创立了几个重要的项目，包括新音乐因达巴、成长中的作曲家和斯特克方丹作曲家会议，旨在支持年轻的黑人作曲家。他还策划了“弓弦项目”，委托弦乐四重奏对传统的乌哈迪弓弦音乐做出回应。布莱克的音乐受到非洲乐器和技巧、实验电影和非洲编织的影响。布莱克的作品在多伦多、纽约、哈瓦那、布宜诺斯艾利斯、墨西哥、澳大利亚、印度、日本以及整个欧洲和非洲都有广泛演出，目前已收录在近20张CD和DVD中，包括最近的三张专辑《非洲宇宙》。2024年，他的交响曲由基辅交响乐团在卡塞尔首演。他目前居住在法国乡村，并在南非的斯泰伦博斯大学担任荣誉职位。
《加盐的方法》是应约翰·蒂尔伯里的要求创作的，2002年在南非的新音乐因达巴首演。在研究科萨音乐（在南非东开普省）时，大卫·达吉教授的一位线人阿米莉亚·诺-赛伦斯·马蒂索夫人告诉他，科萨人喜欢在他们的歌曲中“加盐”，以使表演更生动。可以通过节奏、旋律和和声来“加盐”，使用交叉节奏、拍手延迟技巧、变化的音阶音、平行的旋律和和声部分、非和声音、不和谐音、模式歌唱以及各种声乐技巧。传奇的诺芬尼希·迪维利（2002年去世）的现场表演和录音是他最难忘的音乐体验之一，她可能是乌哈迪弓弦音乐最伟大的代表人物。
Artist: Silvia Belfiore
Title: Kuthula: Contemporary Piano Music from the African Continent, Vol. 2
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical Piano
Quality: flac lossless (tracks)
Total Time: 00:48:48
Total Size: 146 mb
WebSite: Album Preview
Tracklist
01. Lullaby
02. Mihloti-Lágrimas
03. Frisson Nocturne
04. da Images from Africa, N.19 Music from Africa: No. 1, Morning Music
05. da Images from Africa, No. 19 Music from Africa: No. 3, Invocation of the Water Spirits
06. da Images from Africa, No. 19 Music from Africa: No. 4, Lamenting Bird
07. Lament
08. Ways to put in the salt
Andre Bangambula Vindu (Congo, 1953)
Born on 1953 in Kinshasa, Vindu studied at the Institut National des Arts, where he lectured in Music Theory. He undertook Musical Research at CEDAR and served as Head of the Experimental Ensemble Maisha of INA, National University of Zaire. In 1991, he obtained Master Degree of Arts in Art of Music Composition in Shanghai Conservatory of Music. Later, he attended Seminars at EPHE, Sorbonne in Paris in 1991-92 and he got a recognition from the International Music Council of UNESCO, Paris. He attended International Festivals in Wien, Quebec, Amsterdam, Cambridge and Johannesburg.
About his Lullaby, he explains: “I got the inspiration from the Kongo folksong. Indeed, this music depicts a mother who is singing a lullaby while carrying a baby on her back. In the meantime, she is cooking some food. This custom is common in Congo Kinshasa”.
Nabil Benabdeljalil (Morocco, 1972)
Benabdeljalil is a composer and musicologist with advanced degrees from Kyiv and Strasbourg. He is an independent composer, having been influenced by a wide variety of traditions throughout his career, and he does not recognize artificial boundaries between different approaches to musical creation. His works have been performed internationally, including orchestral, chamber, and piano music. Beyond the “classical” register, characterized by its formal complexity, the composer has also shown deep interest in traditional Arab music in its natural forms. His most renowned work is Naissance, set to a poem by Ahmed Toufiq. He conducted the piece himself at the Mohammed VI Institute for Imam Training in Rabat, and again in Casablanca. He performed as a pianist with the instrumental ensemble Zakharif. As a musicologist, he explores various fields of research — technical, aesthetic, and historical — whether in relation to Moroccan, Arab, and Western music. Over time, his intellectual focus has shifted toward the intersection of music, philosophy, and religion, culminating in his philosophical novel The Return of Ibn Yaqdhan.
The Middle Eastern modal character is very present in Frisson de la nuit. This complex piece carries expressive and dramatic weight. The mystical dimension of the music is particularly evident — indeed, it is almost religious. The title itself is directly inspired by an Ayah from Surat al-Muzammil: The night prayer is more impactful. However, it is not the prayer itself, but rather the mystical nocturnal impact that matters to the composer. A sense of tragic fatality is also strongly present — right from the very first rhythm of berceuse, which opens the piece. Here, the composer admits to being deeply disturbed by the final scene of Tchaikovsky’s opera Iolanta, where the heroine, in a state of pure madness, sings a lullaby to her beloved dying. Thus, under the powerful influence of the night, contemplation and spiritual focus are themselves haunted by a deep existential anxiety — which is ultimately “transcended” by a light from another dimension before concluding once again with the opening lullaby.
Stefans Grové (South Africa, 1922-2014)
Grové is considered one of South Africa’s most important composers. Known for blending Western classical traditions with indigenous African music, he helped in shaping a uniquely South African art music identity. Born in 1922 in Bethlehem, he studied in Cape Town and later at Harvard under Walter Piston, also learning from Aaron Copland. After teaching in the U.S. at the Peabody Institute in Baltimore for over a decade, he returned to South Africa in 1972 to join the University of Pretoria, greatly influencing local music education. A turning point came in 1984, when African street music inspired him to develop an original Afrocentric style that went beyond superficial elements. He was the first composer to truly embed Black African music into the core of his compositions. Grové has been also active as a writer and music critic.
Images from Africa is a musical suite envisioned as a gallery of sound-paintings, each capturing a facet of African life.
Morning Music evokes the freshness of dawn in untouched nature through delicate textures. Invocation of the Water Spirit reflects ancient beliefs in mystical river beings, brought to life through ceremonial and magical soundscapes.
Lamenting Birds portrays the silent sorrow of caged wild birds, with a repeating chord symbolizing their confinement and lost freedom.
Gamal Abdel-Rahim (Egypt, 1924-1988)
One of Egypt’s most prominent composers. Born in Cairo in 1924 in a traditional musical family. Discovering his passion at an early age, he began to acquire playing the piano alone, until he started to read history at the Cairo University, where he got the first opportunity to study harmony & piano simultaneously with local European teachers. A government scholarship led him to Germany to study composition with Genzmer at the Musikhochschule in Freiburg (1951 – 1957) (thus being the first Egyptian to study composition academically in Europe). Back home, he started teaching at the Cairo Conservatoire, where he eventually established the first composition department in the Arab world. Several renowned Egyptian and Arab composers studied with him, and have profited from his own long composer’s search, for a unique idiom that reconciles the essence of traditional and folk Egyptian music, with European contemporary techniques. His aesthetic world is poetic, contemplative, nostalgic, and yet full of vitality and vigour as well. German critic Stuckenschmidt described his musical style as “a synthesis of Eastern spirit and Western techniques, that goes a step further than that of Bartok”.
To the Arab Martyrs, a two-movement piano work, derives from the composer’s music for the documentary film Faces from Jerusalem about Palestinian paintings and sculptures. The composer’s sympathy for its subject, resulted in his rewriting some of the ideas of its incidental music in one of his major piano pieces. The Lament is a sombre piece where a predominant motif of augmented fourth, heard at the beginning, grows to the accompaniment of dissonant harmonies. Another sad theme is heard above a chromatic ostinato, using intervals from the first motif. The musical texture grows steadily in richness and urgency, revealing the composer’s mastery of closely-knit form.
Estêvão Filipe Chissano (Mozambique, 1994)
As a Mozambican composer, Chissano attended the Geology course at Eduardo University Mondlane. He is a Music Student (Chorus, Direction and Composition) in the Xiquitsi Project, a non-profit project for social inclusion and professional training through the collective teaching of music in Maputo and where he has been teaching Musical Initiation. In his works, he seeks to explore several musical instruments, techniques and textures, from traditional to contemporary, including electronic music. His compositions have been part of the Classical Music Season in Maputo and have already been performed in various countries, such as Japan, Cape Verde, Germany, Italy, UK, Brazil, Portugal, Norway and South Africa.
Mihloti, meaning tears in Changana and Lágrimas in Portuguese, is a piano piece that expresses the turmoil caused by armed attacks in Mozambique, particularly occurred in 2020. These attacks, linked to the discovery of gas reserves in Cabo Delgado, are paralleled by the devastating impact of cyclones and floods since 2019. Structured in three movements, the work blends varied textures and emotions, evoking memories of smiles bathed in tears—the mihloti.
Michael Blake (South Africa, 1951)
Born in Cape Town, Blake studied in Johannesburg and London and received his doctorate from Rhodes University, Grahamstown. After avoiding conscription during apartheid, he moved to London in 1977, returning to South Africa in 1998 to teach at Rhodes University. He founded several important initiatives, including the New Music Indaba, Growing Composers, and the Sterkfontein Composers Meeting, aimed at supporting young Black composers. He also curated the “Bow Project”, commissioning string quartet responses to traditional uhadi bow music. Blake’s music is shaped by African instruments and techniques, experimental film, and African weaving. Blake’s works have been widely played, in Toronto, New York, Havana, Buenos Aires, Mexico, Australia, India, Japan, and throughout Europe and Africa, and now appears on nearly 20 CDs and DVDs, including the recent triple album Afrikosmos. In 2024 his Symphony was premiered in Kassel by the Kyiv Symphony Orchestra. He currently lives in rural France and holds an honorary position at Stellenbosch University in South Africa.
Ways to Put in the Salt was written at the request of John Tilbury and premiered at the New Music Indaba in South Africa in 2002. While researching Xhosa music (in the Eastern Cape, South Africa), one of Prof David Dargie’s informants, Mrs Amelia No-Silence Matiso told him how the Xhosa people like “to put salt into their songs” to bring the performance to life. Salt may be added rhythmically, melodically and harmonically using cross-rhythms, clap-delay techniques, altered scale tones, parallel melodic and harmonic parts, non-harmonic tones, dissonance, pattern-singing, and a variety of vocal techniques. The legendary Nofinishi Dywili (died 2002), whose live and recorded performances are among his most memorable musical experiences, was probably the greatest exponent of uhadi bow music.
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