凤凰涅槃(中央芭蕾舞团74人演绎 浓情中国舞剧音乐)

凤凰涅槃(中央芭蕾舞团74人演绎 浓情中国舞剧音乐)

  • 流派:WORLD MUSIC世界音乐
  • 语种:纯音乐
  • 发行时间:2012-01-10
  • 唱片公司:瑞鸣音乐
  • 类型:录音室专辑

简介

凤凰涅槃 Nirvana of The Phoenix 管弦互诉柔美演绎 乐舞交融空谷绝响 中央芭蕾舞团交响乐团 演奏 张艺 指挥 火中。 身影在舞蹈。 冲天的烈焰熊熊燃起,火舌翻卷着噼啪的声响。 跳跃,飘忽,婀娜,凝神…… 火光映红了夜晚的天空,将这舞者的身影投射到山岭和苍穹,投射到大海和平原,投射到寒风凛冽的冰天。 闪过吉光片羽,闪过灵逸身形。烧得焦黑,又蜕出绚烂。 哀鸣,或许是欢歌,在火焰的呻吟中生长,喜悦和战栗奇妙地并存。 那精灵的翩跹舞影,愈舞愈轻飘,愈舞愈高飞,几乎要消弭无形。 然而,在接近尾声的那一瞬间,行将寂灭的火堆里突然飞升起灿若云霞的裙翎,重生的凤凰一飞冲天,华美芬芳的光芒片刻夺去了天地间的所有色彩。 因为,—— 崇仰那般炫舞的绰约丰姿,崇仰那般超乎凡间的仪态万方,更崇仰它随心所欲的自由翱翔,崇仰它轮回不尽的激昂生命,崇仰它始终如一地选择那样绝美的姿态活着或死去。 所以,我们用舞蹈这种方式,学习着凤凰的美,摹拟着它的飞翔或栖眠的姿态,用人类的方式传承着凤凰那不息的尚美精神。正如明代的梁辰鱼在《浣纱记·演舞》所吟咏的:“舞所以导人沉滞,故春风起于筵上,夜有聚于楼头,古有翥凤翔鸾,萦尘集羽,折腰翘袖,《激楚》《阳阿》,俱要俯仰应声,抑扬合节。” 舞者,便是人间的凤凰。为舞而歌的音乐,便是凤尾上最令人心醉神驰的华丽长翎。 这张小辑,即精选了中国舞剧作品中最柔美最动人的音乐段落。这其中,有脍炙人口、传颂半个世纪的名篇,也有融会中西引起巨大反响的新作,更有留存多年令人惊艳的压箱之作。《草原儿女》的昂扬,《祝福》舞曲的欢腾,《文成公主》的纯美和热烈,《玄凤》的璀璨奇幻,《向往》的甜蜜明亮,还有《红色娘子军》的经典激情,这些凝聚着乐与舞的超凡魅力的篇章,在这风起云涌的瞬间,让你聆听的心灵如沐花雨,如帆鼓风。在欣赏间叹息,在叹息中落泪,在落泪后欢畅。 选择中央芭蕾舞团交响乐团的演奏,也许是选择了最接近舞剧音乐精髓的体验方式。中央芭蕾舞团以“中国皇家芭蕾”之称享誉世界,代表着亚洲顶尖的舞蹈水平。交响乐团的艺术家们,数十年浸淫于舞蹈和音乐交相辉映的艺术境界之中,他们纯熟的演奏技巧和对曲目千锤百炼的深挚情感,最大可能地贴近芭蕾舞蹈的精神本质,使得这些舞剧音乐的宝石,洗濯出格外闪耀的光芒。柔美细腻的管弦交织,摇曳心旌的动情演绎,令整张专辑体现出恒久动人的瑰丽色彩。在录音现场聆听中芭所演奏的《红色娘子军》,那传扬了几十年无比熟稔的曲调,由这群演奏过数百场“娘子军”的艺术家奏来,是一种直抒胸臆的纯粹美感。 岂止是《红色娘子军》艳惊四座,专辑中的多首曲目都堪称空前绝唱。《草原儿女》中突破性地将中国竹笛和蒙古族马头琴运用在交响乐中,浓郁的民族风格和逼肖的环境色彩描摹令人赞叹。《文成公主》将交响技法与藏族踢踏舞完美交融,无论是优美的爱情双人舞还是盛大的皇家婚典场面,都令人如临其境,动人心神。《伤逝》的哀婉细腻,《祝福》的强烈的地域民歌元素,都在中芭艺术家们的精妙演绎中瞬间成为经典。 此次录音力邀亚洲顶级优秀的录音师李大康操刀,在中国中央人民广播电台八百平米录音大厅录制。这座亚洲顶级的专业录音棚的面积和自然混响效果都令人瞠目结舌,闪亮而肃穆的管风琴折射出音乐经典的光辉。为了录制这张国内罕见的DSD5.1声道环绕立体声发烧天碟,录音现场动用了世界最先进的SACD全套录音设备。而不远万里远赴德国进行后期制作和母版制造,更最大程度地保留和提升了真挚而璀璨的音色。录音时所用的一架上世纪四十年代的斯坦威钢琴,亦因其扑朔的传奇色彩而备受瞩目,据说它曾是二战期间德国送给日本天皇的礼物,但在运送的途中德日战败,这架作为战利品缴获的钢琴阴差阳错地成为了历史的见证,奏出和平的音符。 随风而舞,随舞而吟。管弦之美,美在如心弦撩动;交响魅力,更多是因为轰开了胸臆的共鸣。纯美而激动人心的这一段聆听,是旅程,亦是瞬间。半个世纪的光阴与梦想在这样的瞬间飞扬着,交织着,如硕丽妩媚的花朵,临空怒放在片刻的内心潮涌中,不能平复,亦不愿凋去。 Foreword: In the fire … A figure is dancing. The towering flames reach to the heavens; Tongues of fire swirl ' round the sound of a Pipa. Jumping, moving swiftly, winsome, with rapt attention ... The scarlet flames illuminate the nocturnal sky, casting dancing shadows upon mountains and even the vault of heaven, reaching to the sea and plain, reaching to the bone-chilling wind of icy morning. Flames devour fragmentary remains of treasured works of art; flames devour the dancing phantasm ... Now burned black and yet shining brilliantly. The ululation that emerges from the lapping tongues sounds ecstatic, and joy and fear mingle in its resonance. In the dying flames, a dancing shadow again appears; A first, nearly imperceptibly, the ashes begin to heal themselves and reassemble. Then suddenly, out of the dying embers, a new flame arises in a flash, and the rose-colored plumes of fire announce the phoenix reborn...Its brilliant, fragrant rays seize all color in this world but for a moment. Therefore - We revere the grace and fluid movements of the dance; We revere those mortals who seemingly can transcend the laws of gravity; We revere those whose every movement is rhythmic and free; We revere their seeming ability to transcend the cycle of birth, death, and rebirth through their dexterous movements. We revere their choice to be beautiful in every movement and expression. The spirit of the Phoenix is the inspiration for our dances, an ancient tradition that finds its origins in the admonishments of Liang Chenyu (the Ming Dynasty playwright and author of the first play of the Kun school (kunqu) of dramatic singing), calling upon dancers to invoke the phoenix as it soars or perches beautifully, imitating it, giving a human incarnation to this beautiful mythic spirit. The dancer is a phoenix in human-form. And the music which accompanies the dance is the magnificent plumage whose power can enchant and capt ivate both gods and men. This recording features a small, carefully chosen program of some of the most attractive and moving musical excerpts from the modern Chinese dance repertory. Included, are selections from works that have enjoyed wide popularity for nearly half a century as well as new works that have enjoyed considerable critical acclaim and growing recognition in the West: the high-spirited " Sons and Daughters of the Grassland" , the jubilant " Benediction" (also known as " Blessing" ), the serene beauty of" Princess WenCheng" the magical "Incredible Phoenix ", the deeply emotional " Yearning " and the patriotic fervor of "The Red Detachment of Women", are all representative chapters from the history of dance in China. You are our invited audience, in this theater of the mind, to explore each scene and change of mood, experiencing and appreciating the joys and sorrows of these stories told in dance. We have chosen the Symphony Orchestra of Central Ballet Group for this recording. Their familiarity with the music performed and their deep understanding of the intimate relationship between music and movement makes them uniquely qualified to provide the closest approximation of the drama of a live theatrical performance. The Central Ballet Troupe enjoys great prestige throughout the world, and has been referred to as “the Royal Family of Chinese Ballet" , and represents the apex of contemporary Asian dance. The Symphony Orchestra's artists, with dozens of years of artistic experience, have a deep understanding of musical theater and how an orchestral performance can enhance the beauty of a performance. Their talents combine with that of the dancers on stage, in perfect coordination, to create a sparkling theatrical event. Winds, Brass and Strings all combine in elegant harmony, weaving their timbres to create a compelling musical narrative. One need only listen to their performance of the excerpts from “The Red Detachment of Women" , a work these musicians have performed many times over the years, to appreciate the artistry and enthusiasm of every performance. Not only is "The Red Detachment of Women" given a vivid performance, this very special disc presents the first CD release of several important ballet scores, including selections from " The Sons and Daughters of the Grassland" , a score that includes the Xiao (a Chinese bamboo flute) and the Matoqin (Mongolian National Minority horse's head fiddle) in the orchestra to add a rich national folk flavor to the music and "Princess WenCheng", which incorporates the traditional melodies and rhythms of the Tibetan National minority in the Lover' s Pas de Deux - a movement that will remain in the memory long after the music has stopped - as well as the exquisitely sorrowful "Grieving for the Dead" (or " Passing Away" ), and the intense folk song inspirations of "Blessing" - all of which have become enduring classics through the superb productions of the Central Ballet. Our recording also features the expertise of Li DaKang, one of the top recording engineers in Asia who oversaw this recording made in the famous 800 square m eter, state-of-the-art studios at CCTV - studios whose spacious facilities and perfect acoustics make it the envy of Asia' s recording halls. The master was recorded in DSD 5.1 channel, Surround Sound made on the most advance equipment available. and was then shipped to the acclaimed German studio Pauler Accoustic for post production and final ma stering. Throughout the process of recording this project, every effort was made to be completely committed to the authenticity and integrity of each and every song and create a recording representative of the highest standards of modern audio production. Our recording also features an historic musical treasure - a prized Concert Grand Piano. This legendary piano was said to have been a gift from the German Reich to the Japanese Emperor Hirohito but was confiscated in transit by the Chinese and was never delivered to the Emperor. This wonderful instrument, once a spoil of war has been lovingly restored and now sounds its notes for peace. This is the dance, and the music of the dance. Waves of orchestral sound will touch your heart. Listen and experience this journey to far-away places and long-ago times and allow yourself to be transported instantaneously. For half a century, there has been a magical flower that has taken root in China, and she still blooms never to wither or die. 中央芭蕾舞团交响乐团: 中央芭蕾舞团交响乐团成立于1959年,隶属于中央芭蕾舞团,是中国唯一一支专业的芭蕾舞交响乐团。其成员主要来自各音乐学院,受过严格的专业训练,具有良好的素质。乐团成立之初曾受到周恩来总理的亲切关怀并聘请我国著名指挥家李德伦、韩中杰、黄飞立、黄贻钧、林克昌等进行训练和举行音乐会。世界著名指挥家让·皮里松(法)访华演出期间曾来团指导;曾与秘鲁国家交响乐团首席指挥艾什利·劳伦斯、丹麦皇家芭蕾舞团首席指挥彼得·拉森合作举行音乐会及同英国、法国、俄罗斯、丹麦等国芭蕾舞团合作演出;还与美国音乐教育访华团独奏(唱)家合作举行音乐会。由我国著名指挥家黎国荃、卞祖善、李心草等指挥演奏的舞剧音乐和交响音乐会,受到国内外音乐界和广大听众的一致好评。现任音乐总监、首席指挥张艺,常任指挥刘炬。 乐团演奏过的舞剧音乐有《天鹅湖》、《睡美人》、《胡桃夹子》、《大红灯笼高高挂》、《海盗》、《唐·吉诃德》、《葛蓓莉娅》、《泪泉》、《吉赛尔》、《罗密欧与朱丽叶》、《祝福》、《红色娘子军》、《白毛女》、《希尔维娅》等及芭蕾精品节目;音乐会曲目包括巴赫、莫扎特、贝多芬、柏辽兹、柴科夫斯基、瓦格纳、西贝柳斯等古典、浪漫乐派的经典作品,以及众多中外当代作曲家的作品。 改革开放以来,乐团常应中央电台、中央电视台、中国唱片公司、各音像出版社以及电影制片厂之邀参加录音录像,录制的音乐作品颇受好评。乐团每年进行国内巡回演出,并多次出访香港和澳门特区。2003年出访了英国和法国,演出了《大红灯笼高高挂》获得了广泛好评,并与EMI唱片公司录制了唱片。 张艺 音乐总监、首席指挥 五岁开始学习小提琴,1983年进入中央音乐学院附小,1990年被保送大学指挥系学习,师从徐新教授,同时得到冀瑞铠教授的大力扶持。2000年至2003年就读于德国Saarbruecken音乐学院,师从德国著名指挥家、教育家Max.Pommer教授,获得指挥硕士学位。 他与中国国家交响乐团、中国广播交响乐团、澳门交响乐团、上海交响乐团、上海广播交响乐团、中央民族乐团、中央芭蕾舞团、中央歌剧院、香港小交响乐团、德国Saarbruecken广播交响乐团等多次合作举行音乐会、歌剧、芭蕾舞和录制唱片。曾多次出访欧洲与亚洲等地,并得到过马来西亚国王和王后的赏识,被当地新闻媒介赞为"灿烂的、不可思议的极具魅力的年轻指挥家"。 他还特别热衷于当代音乐的演奏,并多次首演了中外当代作曲家的作品。如斯特拉文斯基的《一个士兵的故事》、叶小纲的《马九匹》、陈其刚的《道情》等作品。 2001年五月与中央芭蕾舞团合作,在北京世界首演了陈其刚作曲、张艺谋导演的新编芭蕾舞剧《大红灯笼高高挂》,并于2002-2003年间在新加坡、巴黎、伦敦指挥该剧演出,均获得极大成功。 2002年一月与德国Saarbruecken广播交响乐团录制叶小纲交响乐作品的唱片由德国Wergo唱片公司出版。 2002年十二月起担任中央芭蕾舞团交响乐团音乐总监和首席指挥。2004年4月,率中国国家交响乐团赴朝鲜平壤,参加四月之春国际艺术节。2005年9月率兰州歌舞剧院交响乐团出访澳大利亚,在著名的悉尼歌剧院演出音乐会。2006年5月与古巴交响乐团在哈瓦那举行了古巴艺术节开幕式交响音乐会。 制作成员: 出品人:叶云川 制作人:叶云川 指挥:张艺 录音:李大康 录音助理:林强军 冯汉英 艺术指导:史志有 李对升 文案:杨倩 翻译:Joshua Cheek 平面设计:图图工作室 演出:中央芭蕾舞团交响乐团 录音地点:中国中央人民广播电台800平米录音厅 录音时间:2006.04.26 后期制作:德国Pauler Accoustic 出品:瑞鸣音乐

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