Hilary Hahn -《27首小提琴安可小品辑》(In 27 Pieces: the Hilary Hahn Encores Project)[2 CD][FLAC]
专辑英文名: In 27 Pieces: the Hilary Hahn Encores Project
艺术家: Hilary Hahn
版本: [2 CD]
In 27 Pieces / Hilary Hahn Encores
Composer: Multiple, Jennifer Higdon
Audio CD (November 11, 2013)
Number of Discs: 2
Label: Deutsche Grammophon
Hilary Announces "In 27 Pieces: The Hilary Hahn Encores"
Hilary will commission over two dozen composers to write short-form pieces for acoustic violin and piano. She will tour these new works over the 2011-12 and 2012-13 seasons and then record them. Of the project-called "In 27 Pieces: The Hilary Hahn Encores"–she writes, "My initial goal was to expand the encore genre to embrace works of different styles. Because I was planning to play the commissioned pieces myself, it was important that the composers` writing spoke to me in some way. I listened to a lot of contemporary classical music, for hours on end, often late into the night. I loved hearing things I had never heard before. I made nerve-wracking `cold calls` to composers to ask them to participate in my project. I wasn`t sure what the reactions would be, but to my surprise, so many people were receptive that the project gained exhilarating momentum." The 26 commissioned composers are: Franghiz Ali-Zadeh, Lera Auerbach, Richard Barrett, Mason Bates, Tina Davidson, David Del Tredici, Avner Dorman, Søren Nils Eichberg, Christos Hatzis, Jennifer Higdon, James Newton Howard, Bun-Ching Lam, David Lang, Edgar Meyer, Paul Moravec, Nico Muhly, Michiru Oshima, Kryzsztof Penderecki, Einojuhani Rautavaara, Max Richter, Somei Satoh, Elliott Sharp, Valentin Silvestrov, Mark, Anthony Turnage, Gillian Whitehead, and Du Yun. A final, 27th composer will be decided in a non-traditional fashion later this year.
演出者：Hilary Hahn、Cory Smythe
制作人：Hilary Hahn、Andreas K. Meyer
录音师：Julian Schwenker、Andreas K. Meyer
后制处理：Meyer Media Mastering LLC, New York
唱片编号：DG 479 1725
望着唱片封面，发现原文标题颇值得玩味：左方是希拉蕊˙韩，右方是专辑标题「In 27 Pieces」然后下方写着「The Hilary Hahn Encores」。稍通英文文法的朋友应也发现这封面设计的诠释空间了，标题指的当然不是这位小提琴家的保留曲目数量；「In」是个介係词，那幺是暗指「Hilary Hahn in 27 pieces」吗？
瓦哈拉的涂鸦簿 Hilary Hahn / Cory Smythe, 2/16/2013 (Feb 18, 13)
Hilary Hahn, Violin
Cory Smythe, Piano
Selected Short Pieces from In 27 Pieces: the Hilary Hahn Encores Project:
Elliott Sharp: Storm of the Eye
Franghiz Ali-Zadeh: Impulse
Corelli: Sonata No 4 in F major, Op 5
In 27 Pieces: the Hilary Hahn Encores Project:
David Lang: Light Moving
James Newton Howard: 133...At Least
J. S. Bach: Chaconne from Partita No 2 in D minor, BWV 1004
- Intermission -
In 27 Pieces: the Hilary Hahn Encores Project:
Mason Bates: Ford's Farm
Valentin Silvestrov: Two Pieces for Violin and Piano / Waltz, Christmas Serenade
Faure: Sonata No 1 in A major, Op 13
In 27 Pieces: the Hilary Hahn Encores Project:
Davis Deltredici: Memories
Mark Anthony Turnage: Hilary's Hoedown
音乐会之中有几乎三分之一到一半的曲目是出自 Hilary Hahn 的安可曲计画，她邀请作曲家创作短曲。名目虽然是安可曲，其实这些曲子变化相当大，有的慢速抒情，有的纯粹是无机质现代音乐，不但听起来就是技巧困难，更有趣的是音色变化也非常大，简直是在实验小提琴能发出的不同声音，有时像是装了弱音器在纱帐中演奏，有时又像是鬼哭般尖锐。
Hahn 在演奏不同时期不同风格的音乐时音色变化也非常大，我以前听其他的小提琴音乐会时没有特别注意到这样的变化。去听这场音乐会主要是为了巴哈，本来以为是 BWV 1004 全曲，开始演奏才知道原来只有夏康。当我非常喜欢一个事物时我往往词穷而找不到适当的话语来形容感动，所以除了「几近完美」之外，我想不出其他的词。大部分夏康的演奏录音都存在一些很细微的瑕疵，比如一些小的杂音，或是不同声部的同步性与时间先后长短的一致性，或是弓在快速变换角度擦过不同琴弦时施力的均衡性。有很多激情感性的演奏，其实说不出口的原因之一可能是要用来掩饰这些声音上的瑕疵。当演奏者拉得声泪俱下，听者很自然会接受这些瑕疵并且认为那是真情流露下必然的结果。我的座位离舞台很近，应该能听到所有的声音，Hahn 的演奏我没听到任何这类的杂音，从头到尾保持一致与平衡，不管是速度或是声部。她的巴哈完全是纯粹的声音，不含任何杂质。
Corelli 和 Faure 也都很好听，尤其是 Faure 。钢琴伴奏和 Hahn 的合作非常好，不会过也不会不及，Faure 的演奏火花四射却从不会兴奋过头破坏了声音平衡。这是第二次听 Hilary Hahn 的音乐会，她这回又换了钢琴伴奏，似乎她的伴奏折损率很高，其实我希望下次不要又换新人。
The violinist Hilary Hahn noticed a lack of exciting works by contemporary composers to dazzle audiences at the end of concerts – and set out to do something about it. As her project comes to its own glittering finale, she talks to Clemency Burton-Hill.
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"Exhilarating and admittedly a little nuts" is how 33-year-old American violinist Hilary Hahn describes her project In 27 Pieces, an ambitious series of encores she conceived over a decade ago, which this week comes to its own grand finale. A glittering miscellany of short works for violin and piano – the sort of the witty, often dazzling pieces a virtuoso violinist might play at the end of a concert if an enthusiastic audience calls for it – the pieces were commissioned and curated by Hahn in what she calls a "very personal undertaking". All 27 encores are under five minutes long and have been premiered in concert halls around the world over the past two years. This week they will be released on a recording by Deutsche Grammophon, alongside physical and digital editions of the sheet music from Boosey & Hawkes and MusicNotes.com.
"Here`s what I envisaged when I began," Hahn tells me from France in the midst of a busy concert tour. "I thought: `I`ll commission some composers, perform the pieces, record them, and put out a record.` That version of this project, however, is like saying: `I`m going to throw a big party. I`ll have a caterer, a band, and invite everyone I know.` Well, yes, but then you start planning it and get to questions like, can the venue handle the band`s tech needs, what is the menu going to be, which drinks do you want to serve, where can people park?- and it goes on and on."
Despite her jam-packed international touring and recording schedule – the more intriguing aspects of which are recorded on her personal blog and by her Twitter-happy violin case @HilaryHahnViolinCase – she was resolute. "When an idea pops into my head and takes up residence, it doesn`t leave me be until I have accomplished it," she admits. And accomplish it she has: the project has been an unprecedented triumph, gathering such luminaries from contemporary music as David Lang, Mark-Anthony Turnage and Nico Muhly to create a new body of work that Hahn sees as a "narrative about the composers, about ideas, and about our times."
Hahn`s original idea arose from what she perceived as a gap in the violin repertoire, in which modern encores are in scant supply. "There was a lack of focus in renewing the encore genre for violin repertoire," she explains. "Encores are addictive, but the majority of the encores that we learn today were shaped by the performers who preceded us. Their pieces are our classics. And those marvellous old chestnuts are beloved for a reason, but I wanted to make sure that there was continuity in the timeline," she says. "I was also curious for myself what composers would do with the miniature in our day and age, with so many influences and fresh ideas floating around in the ether. The encore is like the short story. It is a genre unto itself."
From the top
Hahn confesses she had little idea where to start, but gamely adopted John Cage`s famous maxim: `begin anywhere.` "My square one was to listen to as much new music as I could possibly find," she reveals. "I spent months in front of my computer, drinking tea and eating chocolate and listening to new music for hours every evening. I had to learn as much as possible about the material that was already out in the world, and to find who I felt would be a good match for this concept." When a piece "grabbed" her, she says, "my breath would catch, and the urge to collaborate with that composer was visceral."
Hahn, who has been acclaimed as one of the most outstanding violinists of her generation ever since her first record appeared when she was just 15, says the prospect of then "cold-calling" over two-dozen leading contemporary composers was "nerve-wracking". She needn`t have worried: the response was overwhelmingly positive.
"When Hilary asked me to write for her I got very happy," David Lang tells me from his home in New York. "Like many other music lovers around the globe, I had bought her debut Bach recording when she was very young, so I was excited at the chance to meet her and to work with her." As well as "really enjoying" collaborating with the spirited and gutsy fiddler, Lang says he relished the unique opportunity to tackle a short-form work. "An encore is traditionally a short piece that shows off some aspect of a player's musical abilities. But which aspect? You can show off their speed, articulation, dramatic sense, how melodically they can play, how rhythmic, how high, how soft. I decided to make this encore by focusing on how technically proficient Hilary is, and by filtering out everything that might get in the way of us seeing it. I made a very hard little piece – Light Moving – that concentrates almost exclusively on how perpetual its motion is."
"I jumped at the chance to be involved," agrees Nico Muhly, 32. "Short work is actually, I think, as hard to write as longer pieces because you have to have a really concentrated and focused idea. And I live for Hilary Hahn!" He too embraced Hahn`s exceptional technical virtuosity in his piece Two Voices. "I wanted to give her something weirdly slow, drone-based, and technically challenging. She has to figure out a really complicated series of leaps from the lowest register of the instrument to the very highest," he says. "I hope she plays it a lot and I hope younger violinists play it when she`s sick of it!"
Short but sweet
At a time when nervous classical promoters are ever more wary of including unfamiliar contemporary music on concert programmes, the new encores offer an ingenious solution for an emerging generation of artists and audiences hungry to incorporate new work into their musical diet.
"One of the best things about these short pieces is that they allow Hilary and other violinists to put more new music on more of their concerts," Lang points out. "After a Mozart concerto or the Tchaikovsky, there is always room for a flashy three-minute little burst of contemporary music," Muhly concurs. "I think short pieces can be a great way of showcasing both a performer and a composer together, rather like an appetizer."
To Hahn, a fierce commitment to the music of our time is vital. "To me, the question of classical music engaging with living composers answers itself," she insists. "We need music to describe every era and a multitude of ever-evolving ideas. Music can only be written by living composers – anything can be played any time, but pieces are written by individuals, while they are alive. So living composers are essential."
Hahn`s encores project may be coming to a close, then, but the experience seems only to have furnished the violinist`s determination to keep pushing contemporary classical music`s boundaries. "This has been non-stop amazing, in mostly interesting but sometimes overwhelming ways," she admits. "Wherever my music might lead me, my eyes are open to the possibilities. If I get another crazy idea that inspires me, I`ll follow it."
01. Impulse (6:01)
02. Bifu (4:58)
03. When a Tiger Meets a Rosa Rugosa (5:30)
04. light moving (2:55)
05. Solitude d'automne (4:12)
06. Blue Fiddle (4:52)
07. Third Sigh (3:22)
08. Memory Games (5:00)
09. Farewell (5:01)
10. Ford's Farm (3:19)
11. Whispering (2:48)
12. Torua (4:12)
13. shade (4:20)
14. Echo Dash (2:16)
01. Coming To (3:15)
02. The Angry Birds of Kauai (4:00)
03. Hilary's Hoedown (2:01)
04. Two Pieces (4:58)
05. Aalap and Tarana (3:16)
06. Speak, Memory (3:16)
07. Blue Curve of the Earth (4:53)
08. Storm of the Eye (4:54)
09. Memories (3:55)
10. 133- At Least (2:09)
11. Two Voices (4:57)
12. Levitation (4:13)
13. Mercy (5:31)
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