Of the Chinese composers who received training in the years after the end of the Cultural Revolution, Tan Dun has the most immediately accessible style, and his success has been global in scope. This does not mean his style is simple, and in fact his music is notable for the detail with which it is tailored to specific occasions. The music on this release is adapted from his scores, popular in themselves, for three well-known martial arts films, and you might think of him as a musical counterpart to the director of one of the three films, Zhang Yimou. Both are masters of an epic sweep that initially seems heavily Westernized: Zhang's imagery seems drawn from Hollywood, and Tan's tonality European. But each is much more Chinese than he appears. In Tan's case this is not simply a question of the Chinese traditional instruments that are combined with the Western orchestra, or of the Chinese scales employed. It also involves the ways of playing the instruments, here executed entirely by Chinese musicians except for violinist Itzhak Perlman, the Western player who has shown the most enduring interest in Asian genres. He appears in four cuts from the score to Hero, arranged for violin, traditional Chinese instruments, and orchestra, and each of the other two sets of film selections is also arranged for a prominent soloist, cellist Yo-Yo Ma in the case of Crouching Tiger, Hidden Dragon, and pianist Lang Lang in the music from the lesser-known The Banquet. These suites, with the possible exception of the Hero pieces, extract some of the emotional essence of each film and will appeal to those who simply enjoyed the cinematic spectacles. Anyone with a taste for the big, impeccably produced spectacles that are the specialty of contemporary Chinese culture will enjoy them, too, as will those tracking the spread of a truly global music: you can't find a better example than this. Tan Dun conducted the music in Shanghai (with the Shanghai Philharmonic) and New York (with the China Philharmonic); the mastering cleanly puts these sources together.
唱片编号：8573-81830-2乐 队：西班牙国家交响乐团指 挥：汤沐海吉 他：Sharon Isbin获奖情况：2001年44届格莱美最佳协奏曲大奖资源出处(Credit)：RS专辑介绍： 这张碟是中国作曲家谭盾和美国当代作曲家Christopher Rouse的吉他协奏曲。这是这两部作品的第一次发表，TELDEC出品。 谭盾作品的风格、音素应该符合我们的视听习惯。加上他用了一些中国乐器，听起来更亲切。1. Concerto de Gaudi for Guitar and Orchestra 作曲：Christopher Rouse (1949 - ) [西班牙] 劳斯在音乐与建筑之间产生了“通觉”，从而以西班牙建筑设计师安东尼·高迪的作品为素材创作了这首协奏曲。正如西班牙传统和灵魂在高迪的建筑中得到了某种经过变化的反映，西班牙音乐风格在劳斯的协奏曲中也增加了一道幻想的光晕。但劳斯坚持认为他并不是通过音乐来刻划高迪的建筑，而是以声音表达高迪的建筑带给他的超现实主义和无法琢磨的印象：“所以，我并非专注于高迪的建筑结构，而是试图触摸建筑作品中的‘精神’。我很难用语言来描述这种‘精神’，我所能说的只是高迪从基本的、广为接受的建筑设计出发，套用了充满幻想和出其不意的螺旋、曲线、和滴檐，这使他成为为数不多的几个得以实现其梦想的梦想家之一。”也正是这一点启发了劳斯，激起他建造一个属于自己的“幻想世界”的热望，于是高迪在劳斯的音乐梦幻旅途中成为了催化剂：“结果，我决定从我心目中西班牙音乐的精髓——弗拉门哥出发，也象高迪一样对其进行扭转、弯曲、和变形。” 这部协奏曲是高迪受北方德国广播电台和达拉斯交响管弦乐团的共同委託为伊斯宾创作的，完成于1999年，并于2000年1月2日在德国汉堡由伊斯宾与克里斯托弗·艾森巴赫(Christoph Eschenbach)指挥的北方德国广播电台管弦乐团合作进行世界首演，伊斯宾认为这部作品中充满蓬勃的生机和神秘的美，这与劳斯以往作品中宿命与悲剧的格调大相逕庭。全曲听起来似乎是某种打击乐器的协奏曲。 2. Concerto for Guitar and Orchestra (Yi2) 作曲：Dun Tan (1957 - ) [中国] 谭盾的吉他协奏曲《易经三部曲之二》(Yi2)是1996年受位于巴顿-巴顿(Baden-Baden)的西南德国广播电台的委託，为Donaueschingen艺术节创作、并在该艺术节上由伊斯宾和洛沙·扎格洛塞克(Lothar Zagrosek)指挥的法国国家交响乐团合作进行世界首演。这部协奏曲是易经三部曲的最后一部，Yi0是管弦乐作品，Yi1是大提琴协奏曲，Yi2则是这首吉他协奏曲。在较长的吉他独奏乐段中，管弦乐为独奏者的即兴创作提供了适当的烘托：“最好的音乐同时也应该是理想的即兴演奏。所谓‘即兴’并非恣意，而是自由的创作，同时它必须给听众以‘非此不可，别无他选’的印象。只有在音乐中才能实现这种自然性与逻辑性的高度结合。”伊斯宾认为谭盾将吉他与琵琶这两种非常不同的乐器进行融合，同时也将西班牙文化和中国文化交织在一起。(琵琶属于旋律性的东方弹拨乐器，而吉他则是更偏重于和声的西方乐器)。此曲中伊斯宾大量使用了琵琶的轮指和装饰音，东方韵味十足，同时在第一乐章起始处应和着指挥的击掌进行扫弦和敲板，加入了少量弗拉门哥风格，甚至垂直拉弦打击品丝配合揉弦和大幅度滑音来模仿筝的音响。生长于湖南思茅地区的谭盾儿时曾居住在“白山”，那里每天几乎都进行50来场葬礼，而Yi2便是取材于这种“白喜”的葬礼音乐，(我们把丧事称作“白喜”，就象我们把婚事称作“红喜”一样)，吉他与管弦乐表现了这种丧葬场面和情绪。
卧虎藏龙 电影原声带
国语英语其他 歌曲15首
发布于 2000-11-14
《卧虎藏龙》里最华丽的是武打，最深远的是对白，而最感人的是音乐。本片的配乐由旅美大陆作曲家谭盾谱写，国际知名的华裔大提琴家马友友担任主奏，兼容东西方流行文化的李玟负责以中、英文演唱主题曲“月光爱人”(A Love Before Time)，搭配相当新鲜。本片的主题音乐风格幽运，哀而不伤，配合上片中含蓄的爱情表达，可谓相得益彰。在飞檐走壁的一段配上紧密有致的击鼓声，则充分烘托出紧张刺激的武打气氛，堪称是中国电影配乐中的极品，赢取奥斯卡的最佳电影配乐金像奖的确是实至名归。影片一开场便是主题音乐《卧虎藏龙》，马友友用大提琴演奏的忧伤而深沉的旋律自此就贯穿了整部影片。大提琴是整部音乐中最重要的组成部份。听这一张电影原声专辑，我总是会自然而然地想起影片中的一句台词，李慕白对俞秀莲说：“我并没有得道的喜悦，相反地，却被一种寂灭的悲哀环绕。这悲哀缠绕了我很久，使我无法再继续(闭关修练)”。整个音乐就和影片一样呈现出一种“很深的寂静”。一部古装武侠片，李安表现出的是无尽的寂寞和怅然，而谭盾的音乐也是如此。即使在《The Eternal Vow》(永恆的誓言)这首曲子中，开始短暂的欢快而跳跃的新疆风格音乐之后，延续和发展的依然是《卧虎藏龙》的舒缓和忧伤。李慕白为了向俞秀莲表达自己压抑多年的深爱之情，不惜用尽最后一口真气；而玉蛟龙则在一系列打击之后感到人生幻灭无常，投崖而去。这两个电影部分的音乐分别是《Sorrw》(悲哀)和《Farewell》(永别)。《悲哀》在开始短暂的激烈和紧张之后，大提琴缓缓地进入，与交响乐共同营造出一个黯淡的空间；而《诀别》大提琴从一开始便进入，流露出一种忧伤的情绪。马友友的演奏让人钦佩，大提琴如泣如诉，尤其在音乐即将结束的尾音，渐隐的大提琴声反而更强烈地拉扯住了听者的心。《卧虎藏龙》的电影配乐让我们感到谭盾的音乐并没有因为旅美多年而变得西化，相反地，他的作品中透出一股更加深邃的东方音乐文化气息，人生的困惑和无奈用典型的中国情结表达了出来：舒缓而优美的旋律，惆怅而悲伤的人生。这音乐气息中透出的伤感就如同是对背负着太多压力的中国人的人生髮出的一声叹息。“我们能触摸的，都没有永远。”——李慕白
Water Passion after St. Matthew
其他 歌曲9首
发布于 2000-09-08
音乐线上收听
Water Passion after St. Matthew for Soloists, Choir and Instruments (1999/2000)In my hometown, in ancient times and even in my childhood in the village, the people were always washing rice in the river before they cooked it, and washing their clothes in the river, washing their bodies in the river. I had the experience of living with the water, playing with the water, listening to the water. It was very important to me.Three or four years ago, when my wife was pregnant, we went to the doctor for an ultrasound, and there I could see this beautiful baby and hear the heart. Suddenly I heard this beautiful water sound and I realized: this is the sound all human beings hear first. At that time I had just gotten the commission for the Water Passion. I said, "I’ve got to start with water"— it’s the beginning, and the beginning is the ending, and the end is the beginning. That’s the meaning of resurrection. Resurrection isn’t just a new life, but a new idea.—Tan Dun
谭盾
谭盾二度担任联合国教科文全球组织亲善大使
谭盾
