您的位置: 学术信息
《多元文化新西兰——创作作品专场音乐会》

19:30 音乐会 Ⅰ :
中央音乐学院演奏厅

19:30 Concert Ⅰ: Multicultural New Zealand
CCOM Recital Hall

节目单
Programme

1.沈纳蔺:《WANG》
1. Shen Nalin : Wang

博南:崔燕琳  

Bonang: Cui Yanlin

笙:黄玉婷

Sheng: Huang Yuting 

筝:刘静

 Zheng: Liu Jing

萨龙:张玉雯

Saron: Zhang Yuwen

 

四重唱:陈书博、王洋、魏允熙、王云鹏
Quartet: Chen Shubo, Wang Yang, Wei Yunxi, Wang Yunpeng

毛利音乐家
Maori musicians

 

2.大卫-桑德斯:《秘密婚礼》,1999年
2. David Sanders: Clandestine Marriage (1999)

第一小提琴:刘睿佳    第二小提琴:李雯璇   中提琴:李瑞     大提琴:王宇
Violin I: Liu Ruijia      Violin II: Li Wenxuan   Viola: Li Rui      Violoncello: Wang Yu

 

3.米歇尔-诺里斯:《出口》第3乐章: 《迷雾之屋》
第4乐章: 《黑水河》
3. Michael Norris: Exitus Movement IV: Niflheim (“The House of Mists”)
Movement IV: Oka Lusa Hacha (“Black Water River”)


第一小提琴:刘睿佳   第二小提琴:李雯璇   中提琴:李瑞    大提琴:王宇
Violin I: Liu Ruijia      Violin II: Li Wenxuan   Viola: Li Rui      Violoncello: Wang Yu

 

4.杰克-波蒂:《来自云南》,2009年
4. Jack Body: From Yunnan (2009)
彝族尼苏支:《一切白》
拉祜族:《麻栎花开》
白族:《三弦曲》
NISU (Yi Qie Bai)
LAHU (Mali Hua Kai: Mali Tree in Blossom)
BAI (Sanxian Tune: Sanxian Qu)

第一小提琴:闫露丹   第二小提琴:聂聪   中提琴:李鹏远    大提琴:冯赫     琵琶:陈依美智
Violin I: Yan Ludan   Violin II: Nie Cong     Viola: Li Pengyuan   Violoncello: Feng He  Pipa: Chenyi Meizhi

 

5.迪兰-拉德利:《音乐盒1号》
5. Dylan Lardelli:Musical Box 1

汤加普欧罗:霍罗莫纳-霍罗   中提琴:王瑶    吉他:迪兰-拉德利     竖琴:杜鹃
Taonga puoro: Horomona Horo  Viola: Wang Yao   Guitar: Dylan Lardelli  Harp: Du Juan

 

6.查尔斯-罗耶尔:《 新“莫提提”》( 与中国乐器)
6.Charles Royal New Moteatea (with Chinese instruments)

 

节目介绍:
Introduction:

1.沈纳蔺:《WANG》
1.: Wang

 
“Wang”汉语中(包括古体字)大约有48个字。该作品以“Wang”为词,以四声的声调为音乐的胚元素,生成为主题;采用印度尼西亚培罗格(Pelog)音阶为基础。“Wang”以中国文化为根本,配以他国多元文化的色彩,合成一曲交叉文化的“Wang”字之歌。

"Wang" in Chinese (including the archaic word) has about 48 chatacters. There are synonyms and antonyms, nouns, verbs, adjectives, prepositions, quantifiers, onomatopoeia and so on. This composition uses "Wang" as the text, and the four tones as the embryonic elements of the music to develop a whole piece of music.

 

沈纳蔺(1958-),作曲家, 1958年出生于四川省,1983 考入中国四川音乐学院作曲系,先后从师于姚以让、高为杰教授,1988以优异的成绩毕业获学士学位,并留校在音乐研究所工作。1999年就读于新西兰维多利亚大学音乐学院,师从杰克﹒波蒂教授,2001获荣誉硕士学位,同时获维多利亚大学博士奖学金和新西兰国家“光明的未来”博士奖学金。现于新西兰音乐学院攻读博士学位,并任该院的作曲助教。作品多次在中国和其他国家获奖。

Shen Nalin (b. 1958), studied composition at the Sichuan Conservatory of Music with Prof. Gao Weijie and Yao Yirang. In 1994 he moved to New Zealand and worked in Chinese radio in Auckland for five years before enrolling at the School of Music at Victoria University of Wellington, where he studied with Jack Body, and graduated in 2000 with Master of Music with Distinction. In 2001 and 2002 he was granted a Postgraduate Scholarship for PhD study and a Top Achiever Doctoral Scholarship. For his PhD studies he composed an opera based on the dramatic life and writings of a Chinese poet.

2.大卫-桑德斯:《秘密婚礼》,1999年
2. David Sanders: Clandestine Marriage (1999)

《秘密婚礼》是爱尔兰民歌《我亲爱的凯蒂》曲调的改编和变奏。这首歌曲属于一种古老的传统唱法,无伴奏男声或女声,旋律的装饰产生大段抒情旋律线条,掩盖了任何明显的律动。这是弦乐四重奏的模型,富有装饰性音型的引子不断持续,抹去了韵律的常规结构。

Clandestine Marriage is a transcription and variations on the tune of the Irish folk song Citi na gcumann (Kitty My Dear). The song is part of the tradition of Sean nos (literally ‘old singing’), for unaccompanied male or female voice, in which melodic embellishment leads to a stretching of the lyrical line and masks any sense of underlying pulse. This idea acts as a model for the string quartet whereby successive introductions of ornamental figures obliterate the regular structure of the verse.

 

大卫-桑德斯(1962年—),出生于英格兰,在上世纪80年代末定居新西兰之前四处游历,90年代开始在维多利亚大学学习作曲,师从杰克﹒波蒂、罗斯﹒哈里斯和约翰﹒帕萨斯,2005年获得硕士学位。大卫也是新音乐戏剧团体阿玛加(Amalgam)的创建成员之一,他们的演出包括《肉》(获2001年惠灵顿边缘艺术节最佳音乐奖)等。

David Sanders (b. 1962) was born in England. He traveled extensively before arriving in New Zealand in the late 1980s. In the late1990s he studied music composition at Victoria University of Wellington with Jack Body Ross Harris and John Psathas, graduating with a Masters degree in 2005. David is a founder member of the new music theatre group Amalgam whose performances include Meatworks (winner of the best music award at the Wellington Fringe Festival 2001).

3.米歇尔-诺里斯(1973年-):《出口》第3乐章: 《迷雾之屋》
 第4乐章: 《黑水河》
3. Michael Norris (b.1973): Exitus Movement IV: Niflheim (“The House of Mists”)
Movement IV: Oka Lusa Hacha (“Black Water River”)

人类大脑具有非凡的理解和分析能力,但对其死亡的感知尚有困难。死亡是一个盲点,我们被迫编造一些逝去的经验。因此,人类文化对来世的叙述泛滥,在一些情况下还有非常明确的细节、织体和景色。在作品《出口》中,我选择了了四个明确的来世,作为音乐发展中独特的图像。《迷雾之屋》描述了北欧神话中一个遥远的地区,冰雾层层、黑暗阴冷;《黑水河》则讲述了美国原住民乔克托部落的来世。

The human brain is capable of remarkable feats of understanding and analysis, yet has trouble conceiving its own death. Death is our blind spot — we are forced to make up stories about what we will experience after our passing. Human culture, therefore, overflows with afterworld narratives, and in some cases these have become rich in specific details, textures and landscapes. In Exitus, I chose four specific afterworlds as starting points in the musical development of distinct sonic images. The third movements refer to Niflheim which is a far northern region of icy fogs a Norse mythology, and mists, darkness and cold. The last movement, Hacha is the afterworld of the Choctaw tribe of Native Americans.
 

米歇尔-诺里斯(1973年-),惠灵顿作曲家,获得维多利亚大学和伦敦城市大学学位,现为新西兰音乐学校作曲专业负责人。2003年获管弦乐作曲家全国比赛的“道格拉斯-李伯恩奖”。他也是Stroma新音乐乐团的合作创建人和指挥。

Michael Norris (b.1973) is a Wellington-based composer. He holds composition degrees from Victoria University of Wellington and City University, London, and is currently Programme Leader (Composition) at the New Zealand School of Music. In 2003, Michael won the Douglas Lilburn Prize, a nationwide competition for orchestral composers. He is also co-founder and co-director of Stroma New Music Ensemble.

4.杰克-波蒂:《来自云南》,2009年
4. Jack Body: From Yunnan (2009)

1993年,我走访昆明,有幸遇见了就职于云南艺术研究所的张兴荣教授,他收集了大量云南少数民族的田野录音,我在1994年邀请他赴惠灵顿大学担任访问学者,我们改编并掌握了他的许多录音,这为我打开了一个新的声音世界。此组曲改编自三种不同少数民族文化的琉特类弹拨乐器,由张教授提供录音。

In 1993 on a visit to Kunming I had the pleasure to meet Prof Zhang Xingrong, who worked at the Yunnan Art Institute. I was fascinated by Prof Zhang’s extraordinary collection of field recordings that he had made of the music of the minorities of Yunnan, and was able to arrange a residency for him at Victoria University of Wellington in 1994. During his stay we transferred and mastered a selection of his archive. For me as a composer, hearing this music opened up new worlds of sound. This little suite presents three transcriptions of plucked lute music, of three different minorities cultures, based on Prof Zhang’s recordings.

 

杰克-波蒂(1944年-),曾就读于奥克兰大学,荷兰声学研究所,1976-1977年担任印度尼西亚音乐学院的客座讲师,从1980年起就职于维多利亚大学,现为新西兰音乐学院。
    作品涉及众多体裁,包括独奏、室内乐、管弦乐、音乐剧场、舞蹈和电影音乐及电子音乐。他同样还从事实验摄影和电脑控制声音图像装置工作。杰克痴迷于亚洲音乐和文化,特别是印度尼西亚音乐强烈影响着他的创作。作为一名民族音乐学家,发行了印度尼西亚及中国音乐的唱片。杰克受到众多团体的委约,他还担任Waiteata音乐出版设的编辑,出版了许多新西兰音乐乐谱,并为新西兰作曲家发行了超过二十张的唱片。
Jack Body (b. 1944) studied at Auckland University, in Cologne and at the Institute of Sonology, Utrecht. During 1976-77 he was a guest lecturer at the Akademi Musik Indonesia, Yogyakarta, and since 1980 he has lectured at the School of Music, Victoria University of Wellington, now the NZ School of Music.   
His music covers most genres, including solo and chamber music, orchestral music, music-theatre, music for dance and film as well as electroacoustic music. He has also worked in experimental photography and computer-controlled sound-image installations. A fascination with the music and cultures of Asia, particularly Indonesia, has been a strong influence on his music. As an ethnomusicologist, his published recordings of music from Indonesia and China. He has been commissioned by many musicians, ensembles and Orchestras. He is the editor of Waiteata Music Press which publishes scores of New Zealand music, and has produced over twenty CDs of music by New Zealand composers.

5.迪兰-拉德利:《音乐盒1号》
5. Dylan Lardelli:Musical Box 1

音乐盒可以作为纪念品,也可以点燃熄灭的回忆。演奏者通过改变原始的音乐版本来回应主要乐器。记忆经常与现实混合,并经历变形,乐器演奏者的音乐材料有了不同变化,成为独立资源自生自灭。

Just as music boxes are used to store keepsakes and to ignite faded memories, the musicians in this piece respond to the leading instrumentalist by playing transformed and ‘faded’ versions of the initial musical events. Memories often mix reality and ongoing transfigurations; the instrumentalists’ material becomes more disparate, taking on a life of its own, independent of its source.
 
迪伦-拉德利,本科在维多利亚大学学习吉他演奏,硕士为作曲专业。获得了众多奖学金,《四个断片》获得2003年于东京举办的亚洲青年作曲协会比赛第一名,后获得埃德温-卡尔基金会奖学金赴欧洲学习作曲。作为一名吉他演奏家,迪伦曾与新西兰交响乐团合作。迪伦录有大量的新西兰音乐作品,并与许多国际知名艺术家合作。
Dylan Lardelli holds a Bachelors degree in Guitar performance and a Masters degree in Composition from Victoria University Wellington. He has been the recipient of many scholarships and awards including the first prize with his piece ‘Four Fragments’ in the Asian Composers League Young Composers’ Competition in Tokyo in 2003. He was also the first recipient of the Edwin Carr Foundation Scholarship which enabled him to undertake composition studies in Europe. As a guitarist Dylan has performed with the New Zealand Symphony Orchestra. Dylan has recorded numerous New Zealand compositions. He has received performances by several notable international artists.
6.查尔斯-罗耶尔:《 新“莫提提”》( 与中国乐器)
6. Charles Royal New Moteatea (with Chinese instruments)

这三首最新创作的“莫提提”毛利歌曲涉及到了部分的内心调节过程。
《ārai》:在世界与自身之间建立适合的界限。
《Pana》:消除消极的情绪和伤痛。
《Tau》:成为中心,唤醒更深层次的自我。

These three newly composed mōteatea (Maori songs) concern parts of a healing process.
ārai – establishing a boundary between oneself and the world around us
Pana – expelling negative emotions, hurts, injuries
Tau – becoming centred, reacquainting oneself with ones centre.

 

 

发布日期: 2009-10-26 来源: 中央音乐学院 作者: 音乐学系

下载附件[Download]

Copyright © www.ccom.edu.cn , http://zhuanti.ccom.edu.cn/old/nz09
本站由中央音乐学院网络中心制作维护