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12-[2025] 毛里齐奥·巴尔萨诺:歌曲与舞曲(为吉他而作) [16B-44.1kHz]

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艺术家:乔治·布蒂塔
标题:毛里齐奥·巴尔萨诺:歌曲与舞曲(为吉他而作)
发行年份:2025年
厂牌:达芬奇古典
流派:古典吉他
音质:无损FLAC(音轨)
总时长:1小时11分05秒
总大小:270MB
网站:专辑预览

曲目列表

01. 第一号歌曲
02. 第一号舞曲
03. 第二号歌曲
04. 第二号舞曲
05. 第三号歌曲
06. 第三号舞曲
07. 第四号歌曲
08. 第四号舞曲
09. 第五号歌曲
10. 第五号舞曲
11. 第一卷歌曲
12. 第一卷舞曲
13. 第二卷歌曲
14. 第二卷舞曲
15. 第三卷歌曲
16. 第三卷舞曲
17. 第九号歌曲
18. 第九号舞曲:旋转木马
20. 第十号舞曲
21. 第十一号歌曲:钟声
22. 第十一号舞曲
23. 第十二号歌曲
24. 第十二号舞曲:献给阿利里奥的华尔兹

在《歌曲与舞曲》中,当代意大利作曲家加埃塔诺·毛里齐奥·巴尔萨诺创作了一组深深植根于20世纪古典吉他传承的作品,融合了民间音乐元素。正如标题所示(“为吉他而作的歌曲与舞曲”),巴尔萨诺的作品有意呼应了一系列将抒情如歌的旋律与特色舞曲节奏相结合的创作传统。这一传统的典型代表是加泰罗尼亚作曲家弗雷德里克·蒙波的著名钢琴作品《歌曲与舞曲》,这是一组借鉴民间主题和风格的小型作品。巴尔萨诺在蒙波的模式基础上进行拓展,创作了一整套吉他作品,既向流行音乐风格致敬,也向那些升华了这些风格的古典大师致敬。

古典吉他在20世纪初兴起,成为一种特别适合连接艺术音乐与流行及民间传统的乐器。在 virtuoso 安德烈斯·塞戈维亚及其圈子的影响下,许多作曲家为吉他创作时充分利用了其与民间音乐的联系。在西班牙,民族主义学派的作曲家如伊萨克·阿尔贝尼兹、恩里克·格拉纳多斯、曼努埃尔·德·法雅和华金·图里纳,将本土舞曲节奏和民间旋律融入作品中,帮助在音乐会曲目中“将西班牙民间歌曲和舞曲与一丝法国印象主义相融合”。独奏吉他作品发挥了特殊作用:尽管这些作曲家有些本身并不演奏吉他,但他们被吉他的表现力和朴实的音色所吸引,这往往是在塞戈维亚的劝说下。例如,图里纳的《塞维利亚幻想曲》(1923年)是他为吉他创作的第一首作品,明确以热情的塞维利亚民间舞曲为基础。

在将流行风格与古典形式相融合的最具影响力的典范中,就有弗雷德里克·蒙波的《歌曲与舞曲》。创作于1918年至1972年间,蒙波的《歌曲与舞曲》包含十五首短作品(最初为钢琴而作,除两首后来改编为其他乐器的作品外)。每首作品都分为两个部分:一段缓慢抒情的“歌曲”, followed by 一段更活泼的“舞曲”。蒙波深受其故乡加泰罗尼亚民间音乐的熏陶,大多数《歌曲与舞曲》都明确借鉴加泰罗尼亚民间旋律或童谣。例如,第三号《歌曲与舞曲》融入了加泰罗尼亚圣诞歌曲《母亲的孩子》,其他几首则引用或改写了传统的萨达纳舞曲旋律。即使没有直接引用民间音乐,蒙波创作的原创旋律也常常“带有加泰罗尼亚民歌风格”,捕捉到加泰罗尼亚民间音乐的调式变化和简洁而动人的抒情性。这种创作方法——创作出听起来 timeless 或佚名的旋律——有时被描述为使用“想象的民间风格”。蒙波的原创作品(如第五号《歌曲与舞曲》中的舞曲或第六号的全部)听起来仿佛是古老的民歌,尽管它们是新创作的。他的目标不是民族志的准确性,而是提炼民间精髓:一种简洁、纯真和热情的氛围。蒙波的影响直接或间接地延伸到了吉他领域。间接地,他为钢琴创作的《歌曲与舞曲》受到吉他手的赞赏(有几首后来被改编为吉他曲),因为它们体现了吉他手所珍视的特质:亲密感、清晰度以及与民间根源的联系。直接地,蒙波应安德烈斯·塞戈维亚的请求,亲自为吉他文献做出了贡献。1962年,他为独奏吉他创作了《孔波斯特拉组曲》,献给塞戈维亚,这是20世纪吉他创作的典范之作。这部包含六个乐章的组曲是对加利西亚的圣地亚哥-德孔波斯特拉市的音乐致敬,将地区特色与蒙波独特的风格相融合。《孔波斯特拉组曲》的每个乐章都“唤起了这座历史悠久的加利西亚城市的精髓”,从古老的宗教回响到活泼的民间舞蹈。值得注意的是,最后一个乐章是穆涅拉——一种6/8拍的传统加利西亚舞曲,蒙波在吉他上模仿了盖塔(加利西亚风笛)的声音。

加埃塔诺·毛里齐奥·巴尔萨诺的《歌曲与舞曲》从上述传统中脱颖而出,带有鲜明的意大利视角和个人风格。巴尔萨诺为该作品撰写的意大利语原版引言(本文以此为基础)明确表示,他构思这些作品是为了向“民间精神”致敬,并通过当代视角进行过滤。遵循蒙波的典范,巴尔萨诺围绕“歌曲”和“舞曲”这两个核心概念构建作品:每首作品要么在单一的综合形式中并列如歌的表现力与舞曲节奏,要么作为互补的乐章。在旋律和和声上,巴尔萨诺采用了可以称为“想象的民间风格”的手法。也就是说,大部分主题素材是原创的,但经过精心设计,以唤起民歌的调性简洁性和调式色彩。就像蒙波有时创作“带有加泰罗尼亚民歌风格”的全新曲调一样,巴尔萨诺创作的旋律让人感觉仿佛是通过几代人口头传承下来的。这些旋律常常以五声音阶或调式音阶为中心,音域较窄且有重复,带有哀怨或田园的特质,所有这些都强化了民间音乐的感觉。吉他的特有的表现手法——空弦持续音、鲁特琴式的琶音、柔和的钟音效果——被用来支持这种美学,使音乐植根于传统吉他演奏的声音世界。有时,人们可能会觉得这些音乐像是意大利农民歌曲或乡村舞曲的回声,这些歌曲和舞曲从未真正被记录下来,却存在于作曲家的想象中。

至关重要的是,巴尔萨诺并非只依赖虚构的风格,他还将至少一首真实的民间旋律融入这组作品中,从而加强了作品与真实民间传统的联系。在这组作品的第三首舞曲中,巴尔萨诺引入了一首真正的西西里曲调:传统的约拉旋律。约拉是一种西西里民间舞蹈,历史上与牧羊人有关(民族志记录中称其为“马扎拉地区广泛流传的牧羊人之舞”)。民族音乐学家阿尔贝托·法瓦拉在其里程碑式的《西西里民间音乐集》中收集并转录了这首旋律(在第二卷中编号为735)。通过将西西里约拉主题编织到自己的作品中,巴尔萨诺直接向祖国的地区文化遗产致敬。因此,第三首舞曲成为过去与现在的对话:一段由法瓦拉用笔记录下来的古老西西里旋律,通过巴尔萨诺现代的和声处理和吉他的复调织体获得新生。听众可能会注意到,巴尔萨诺如何用调式之间的微妙转换为简单的约拉曲调配和声,以及他如何发展该曲调,引入变奏以突出吉他模仿乡村声音的能力(或许是牧羊人的风笛声或乡村节日的节奏性扫弦)。这种将真实民歌与创造性发展相结合的方法,让人想起贝拉·巴托克等作曲家,他以将民间旋律作为复杂作品的种子而闻名,这也与吉他改编和演绎民间曲调的广泛传统相符(例如,米格尔·洛贝特改编的加泰罗尼亚民歌)。在巴尔萨诺手中,西西里约拉既是对意大利地区文化的致敬,也是当代音乐叙事的基石。

《歌曲与舞曲》的高潮以一种明确的致敬为标志:“献给阿利里奥的华尔兹”,这是该作品集的最后一首舞曲,献给已故大师阿利里奥·迪亚斯。这首收尾的华尔兹是巴尔萨诺对20世纪最重要的民间风格曲目吉他演绎者之一的致敬。阿利里奥·迪亚斯(1923–2016)是委内瑞拉 virtuoso,曾师从塞戈维亚并继承了他的遗产,同时他自身也倡导拉丁美洲作曲家的音乐。迪亚斯的演奏和改编让全球听众了解到委内瑞拉以民间为基础的作品的丰富性——最著名的是安东尼奥·劳罗的委内瑞拉华尔兹,迪亚斯经常演奏并录制这些作品。他的倡导有效地将欧洲古典吉他传统与南美民间的节奏和旋律联系起来。许多作曲家在迪亚斯生前通过将作品献给他来表达敬意;例如,西班牙作曲家华金·罗德里戈在1961年为阿利里奥·迪亚斯创作了《Invocation 与舞曲(向曼努埃尔·德·法雅致敬)》。巴尔萨诺的《献给阿利里奥的华尔兹》就处于这种音乐致敬的传统之中。这不仅仅是一种象征性的致敬,更是一种反映迪亚斯影响的艺术综合体。华尔兹形式(西班牙语中的 vals)立即让人联想到劳罗等人提升到音乐会舞台的委内瑞拉克里奥尔华尔兹流派。巴尔萨诺的华尔兹带有3/4拍的轻快节奏和浪漫的摇摆感,如同深情的华尔兹,但也融入了暗示委内瑞拉风格的节奏怪癖——例如,人们可以听到微妙的切分音或交叉节奏,让人联想到卡拉卡斯梅伦格(一种相关的舞蹈)或拉美华尔兹中常见的赫米奥拉节奏型。在旋律素材上,《献给阿利里奥的华尔兹》以温暖的歌唱性线条为主,或许反映了迪亚斯自身演奏中的抒情精神。通过以这首作品结束《歌曲与舞曲》,巴尔萨诺拓宽了其组曲的文化范围——从意大利式和泛地中海的民间想象,到对拉丁美洲的致敬——并借此强调了一个核心观点:古典吉他曲目是一个连续体,将多样的民间传统统一在共同的美学之下。

Artist: Giorgio Buttitta
Title: Maurizio Balsano: Canzoni e Danze, for Guitar
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical Guitar
Quality: flac lossless (tracks)
Total Time: 01:11:05
Total Size: 270 mb
WebSite: Album Preview

Tracklist

01. Canzone No. I
02. Danza No. I
03. Canzone No. II
04. Danza No. II
05. Canzone No. III
06. Danza No. III
07. Canzone No. IV
08. Danza No. IV
09. Canzone No. V
10. Danza No. V
11. Canzone No. , vol. I
12. Danza No. , vol. I
13. Canzone No. , vol. II
14. Danza No. , vol. II
15. Canzone No. , vol. III
16. Danza No. , vol. III
17. Canzone No. IX
18. Danza No. IX: La giostra
20. Danza No. X
21. Canzone No. XI: Rintocchi
22. Danza No. XI
23. Canzone No. XII
24. Danza No. XII: Vals para Alirio

In Canzoni e Danze, contemporary Italian composer Gaetano Maurizio Balsano offers a cycle of pieces that deeply engage with the classical guitar’s 20th-century heritage of folk-inspired art music. As the title suggests (“Songs and Dances for Guitar”), Balsano’s work knowingly echoes a lineage of compositions that fuse lyrical song-like melodies with characteristic dance rhythms. This lineage is epitomized by the Catalan composer Frederic Mompou’s celebrated Cançons i danses (“Songs and Dances”) for piano, a series of miniature works that draw on folk themes and styles. Balsano expands on Mompou’s model, crafting a full suite of guitar pieces that pay homage to both popular musical idioms and the classical masters who elevated those idioms.
The classical guitar emerged in the early 20th century as an instrument uniquely suited to bridging art music with popular and folkloric traditions. Under the influence of virtuoso Andrés Segovia and his circle, many composers wrote for the guitar in ways that capitalized on its folkloric associations. In Spain, composers of the nationalist school such as Isaac Albéniz, Enrique Granados, Manuel de Falla, and Joaquín Turina wove indigenous dance rhythms and folk melodies into their works, helping to “mix… Spanish folk songs and dances with a touch of French impressionism” in the concert repertoire. A special role was played by works for solo guitar: although some of these composers did not play the instrument themselves, they were drawn to its expressive possibilities and earthy timbres, often at Segovia’s urging. Turina’s Fantasia Sevillana (1923), for example, was his first piece for guitar and was explicitly based on the fiery Sevillanas, folk dances from Seville.
Among the most influential models for blending popular idioms with classical form are Frederic Mompou’s Cançons i danses. Written between 1918 and 1972, Mompou’s Songs and Dances comprise fifteen short works (originally for piano, except two later adaptations for other instruments). Each is structured in two sections: a slow, lyrical Canción (song) followed by a more animated Danza (dance). Mompou was steeped in the folk music of his native Catalonia, and most of the Cançons i danses explicitly draw on Catalan folk melodies or nursery tunes. For example, Cançó i dansa No. 3 incorporates the Catalan Christmas song “El noi de la mare,” and several others quote or paraphrase traditional sardana dance tunes. Even when not directly quoting folklore, Mompou often composed original melodies “in a Catalan folk song manner”, capturing the modal inflections and simple, haunting lyricism of Catalan folk music. This creative approach – inventing melodies that feel timeless or anonymous – is sometimes described as using imagined folk idioms. Mompou’s original pieces (such as the Dance from Canción y danza No. 5 or the entirety of No. 6) sound as if they could be age-old folk songs, even though they are newly composed. His goal was not ethnographic accuracy but the distillation of a folk essence: an atmosphere of simplicity, innocence, and ardor. Mompou’s influence extended into the realm of the guitar both directly and indirectly. Indirectly, his Cançons i danses for piano were admired by guitarists (several have since been transcribed for guitar), as they encapsulate qualities guitarists value: intimacy, clarity, and a connection to folk roots. Directly, Mompou himself contributed to the guitar’s literature at the behest of Andrés Segovia. In 1962 he composed the Suite Compostelana for solo guitar, dedicated to Segovia, which stands as a masterful example of 20th-century guitar writing. This suite of six movements offers a musical homage to the city of Santiago de Compostela in Galicia, blending regional flavor with Mompou’s signature style. Each movement of Suite Compostelana “evokes the essence” of that historic Galician city, from archaic liturgical echoes to lively folk dance. Notably, the final movement is a Muñeira – a traditional Galician dance in 6/8 – in which Mompou imitates the sound of the gaita (Galician bagpipe) on the guitar.

Gaetano Maurizio Balsano’s Canzoni e Danze emerges from the above tradition with a distinctly Italian perspective and a personal voice. Balsano’s original Italian introduction to the work (on which this essay is based) makes clear that he conceived these pieces as an homage to the spirito popolare – the spirit of folk music – filtered through a contemporary lens. Following Mompou’s archetype, Balsano structures his pieces around the dual concepts of canzone and danza: each piece juxtaposes songlike expressivity with dance rhythms, either within a single integrated form or as complementary movements. Melodically and harmonically, Balsano employs what might be called imagined folk idioms. That is, much of the thematic material is original, yet it is crafted to evoke the tonal simplicity and modal colors of folk song. Just as Mompou sometimes wrote wholly original tunes “in a Catalan folk song manner”, Balsano invents melodies that feel as if they could have been handed down through generations of oral tradition. These melodies often center on pentatonic or modal scales, use narrow ranges and repetition, and carry a plaintive or pastoral character, all of which bolster the illusion of folklore. The guitar’s idiomatic resources – open-string drones, lute-like arpeggios, gentle campanella (bell-like) effects – are used to support this aesthetic, grounding the music in the sonic world of traditional guitar playing. At times, one might imagine the music as an echo of Italian peasant songs or rustic dances that were never actually written down but live in the composer’s imagination.
Crucially, Balsano does not rely only on invented idioms; he also incorporates at least one authentic folk melody into the cycle, thereby strengthening the work’s connection to real folkloric heritage. In the third dance of the set, Balsano introduces a genuine Sicilian tune: a traditional Jolla melody. The Jolla is a Sicilian folk dance associated historically with shepherds (noted in ethnographic records as “ballo di pecorai, molto diffuso a Mazara” – a shepherds’ dance widespread in the Mazara area). Ethnomusicologist Alberto Favara, in his landmark Corpus di musiche popolari siciliane, collected and transcribed this melody (catalogued as No. 735 in Volume II of his corpus). By weaving the Sicilian Jolla theme into his composition, Balsano pays direct homage to the musical folklore of his homeland. The third dance thus becomes a dialogue between past and present: an age-old Sicilian melody, preserved by Favara’s pen, is reborn through Balsano’s modern harmonic treatment and the guitar’s polyphonic textures. Listeners may notice how Balsano harmonizes the simple Jolla tune with subtle shifts between modes, or how he develops it, introducing variations that highlight the guitar’s ability to imitate rustic sounds (perhaps the drone of a shepherd’s pipe or the rhythmic strumming of a village festa). This blend of an actual folk song with creative development exemplifies Balsano’s compositional intent – to acknowledge authentic folk sources while also extending them into new artistic territory. It is a method reminiscent of composers like Béla Bartók, who famously treated folk melodies as seeds for sophisticated compositions, and it aligns with the broader guitar tradition of arranging and elaborating folk tunes (for example, Miguel Llobet’s guitar arrangements of Catalan folk songs). In Balsano’s hands, the Sicilian Jolla becomes both a tribute to Italy’s regional culture and a building block for a contemporary musical narrative.
The culmination of Canzoni e Danze is marked by an explicit tribute: “Vals para Alirio”, the final dance in the collection, dedicated to the late maestro Alirio Díaz. This concluding waltz serves as Balsano’s homage to one of the 20th century’s most important guitarist-interpreters of folk-inspired repertoire. Alirio Díaz (1923–2016) was a Venezuelan virtuoso who studied with Segovia and carried forward his legacy, but who also, in his own right, championed the music of Latin American composers. Díaz’s performances and arrangements introduced global audiences to the richness of Venezuelan folk-based compositions – most notably the Venezuelan waltzes of Antonio Lauro, which Díaz frequently performed and recorded. His advocacy effectively bridged the European classical guitar tradition with the rhythms and melodies of South American folk. Many composers honored Díaz during his lifetime by dedicating works to him; for example, the Spanish composer Joaquín Rodrigo wrote Invocación y danza (Homenaje a Manuel de Falla) for Alirio Díaz in 1961. Balsano’s Vals para Alirio situates itself in this tradition of musical homage. It is not merely a token dedication, but an artistic synthesis reflecting Díaz’s influence. The waltz form (vals in Spanish) immediately invokes the Venezuelan vals criollo genre that Lauro and others had elevated to the concert stage. Balsano’s Vals carries the lilting 3/4 meter and romantic sway of a sentimental waltz, yet also embeds rhythmic quirks that hint at the Venezuelan style – for instance, one can hear subtle syncopations or cross-rhythms suggestive of the merengue caraqueño (a related dance) or the hemiola patterns common in Latin American waltzes. In its melodic material, Vals para Alirio sings with a warmly cantabile line, perhaps reflecting the lyrical spirit of Díaz’s own playing. The piece may also allude to Díaz’s repertoire: listeners might discern a graceful nod to the style of a Lauro waltz or a Venezuelan serenade embedded in Balsano’s phrases. By ending the Canzoni e Danze with this piece, Balsano broadens the cultural scope of his suite – moving from Italianate and pan-Mediterranean folk imaginings to a Latin American homage – and in doing so underscores a key idea: the classical guitar’s repertoire is a continuum that unites diverse folk traditions under a shared aesthetic.

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