Philip Glass -格拉斯第五交响曲 Symphony No.5 Requiem Bardo Nirmanakaya [2CD][APE]

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专辑英文名: Symphony No.5 Requiem Bardo Nirmanakaya
专辑中文名: 格拉斯第五交响曲
艺术家: Philip Glass
资源格式: APE
版本: [2CD]发行时间: 2000年10月03日
地区: 美国
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概述:

作曲： Philip Glass
指挥： Dennis Russell Davies
表演： Eric Owens, Dennis Russell Davies, Denyce Graves, Wiener Rundfunkorchester, Ana Maria Martinez, et al.
管弦演奏： Wiener Rundfunkorchester
发行公司：Nonesuch
专辑介绍：
二十世纪最勇於突破，也最有影响力的作曲家─Philip Glass（菲利普葛拉斯），作品极为大量且涵盖层面甚广，包括管弦乐作品、歌剧、电影配乐，因为脚步遍及环境音乐及新世纪音乐，所以对电子合成音效也有涉猎，并融入了世界各地的音乐精髓。
从八岁起接触长笛开始，Philip Glass便展现了对音乐的天份及兴趣，十五岁远赴芝加哥求学时，他花最多精力在钢琴上，接着还进茱莉亚音乐学院接受正统音乐教育，但是带给他最大启发的，却是印度西塔琴之王─Ravi Shankar，从此他的音乐是由心中浮现的旋律乐段来带领，而不是纸上谱出的符号。 1967年他到了纽约，发展出着名的极微主义乐派，由几个不断重覆的旋律主题构成整首乐曲，彻底打破了古典乐的成规，作法十分后现代，很快就受到艺文圈的注目。随着专属演奏团体的组成，以及几年下来的表演耕耘，1974他受英国Virgin唱片公司欣赏而签下，并逐渐获得国际声望，不过，直到1977年发行了专辑“North Star”，他的音乐才开始接触到普罗大众。
Philip Glass无疑是被称为简约派中名头最响的一位，这得益于他大量的戏剧、电影、舞蹈配乐创作。更内在的因素是他更加注重声音效果，通过借鉴印度音乐中的“循环节奏结构”，他在广泛应用重复原则，以一个简单音型的不断重复贯穿全曲的同时，通过不断扩展节奏、增强配器的修饰效果等手段使之变化。Glass作品和声的音响效果、音乐织体的丰富都远远超出了上述两位作曲家。他的代表作有《五度的音乐》、《再看和声》等器乐作品。但影响更为广泛的则是由《爱因斯坦在海滩》、《不合作主义》（以甘地为主角）、《阿赫那吞》（Akhnaten，公元前14世纪的埃及国王）所组成的三联歌剧。它打破了歌剧讲故事的传统，而用富于冥思的音乐隐喻和象征刻画人物。
一九七五年的歌剧《沙滩上的爱因斯坦》。在长达四幕五个钟头的演出当中，不落幕也没有中场休息，观众可以任意地进出，整出作品没有以往人们熟悉的歌剧咏叹调与宣叙调，也没有剧情可言。此剧打破了传统歌剧的形式，葛拉斯与威尔逊宣称「沙」剧无需任何解释，他们希望人们以自己的眼睛与耳朵来感受，从中体会出属于自己的意义。随后葛拉斯又写了《真理坚固（Satyagraha）》《甘地在南非的故事》与《法老王Akhnaten》，此两者与《沙滩上的爱因斯坦》，合称为葛拉斯的歌剧三部曲。
作为极简主义现代音乐的代表人物，葛拉斯是一个不做电影配乐，也具有广泛影响力的领袖级作曲家。不过，如果不是他为30多部电影配乐，大家遇到他作品的机会就要小得多，毕竟，我们总是宁愿看电影，而不会专门去听纯先锋音乐的。葛拉斯的音乐理论说起来似乎也“极简”：使用尽量少的音符循环重复层迭出丰富的音乐，但真正要弄懂就不容易了。好在我们不仅可以用耳朵去听音乐，还可以用电影去看葛拉斯的极简主义风格。看过导演Godfrey Reggio记录片《QATSI三部曲》影碟的人，就都感受过这位大师的音乐魅力。而更多的奥斯卡电影迷们，则可以通过获奖电影《时时刻刻》来聆听Philip Glass了.
这张专辑是Philip Glass的第五交响曲。Philip Glass以「古老的智慧」为中心概念来创作，从全世界十二个古老民族的经典取材，包括希腊、希伯来、梵文、阿拉伯、中国、日本……等，以十二个乐章呈现出「Requiem」(安魂曲)、「Bardo」(过渡)、「Nirmanakaya」(重生)三大主题。
Along with being perhaps the best-known contemporary classical composer, Philip Glass is also one of the most intensely prolific–almost frighteningly so. Scarcely a season seems to pass without a major premiere–and, as Glass himself probably would be the first to admit, this factory level of productivity can lead to disappointingly uneven results. His music in particular requires an effort to separate the wheat from the chaff. The Symphony No. 5 began life as a commission from the Salzburg Festival to celebrate the new millennium. Glass took the occasion to reflect on the “process of global evolution,” and culled texts from the gamut of world religions and cultures; these are set for various combinations of five vocal soloists, large chorus, and children’s choir in a 12-movement work that lasts nearly 100 minutes–all of which is scored with a brilliant orchestral palette. The symphony’s subtitle (“Requiem, Bardo, Nirmanakaya”), with its mix of Western and Buddhist terms, reflects Glass’s multicultural ambitions, as well as the work’s tripartite passage: from the past and stories of creation through consideration of death and a state of expectation to enlightened rebirth in the future. Together with familiar Bible verses are texts from the Tibetan Book of the Dead, the Koran, Hindu scriptures, Rumi, a Bulu creation story, and much more.
It all could have made for an embarrassingly muddled, New Agey smorgasbord. Actually, however, it’s one of the more thoroughly convincing works that Glass has created; it builds bit by bit, mosaic by mosaic, in a cumulative effect that becomes especially powerful in the stark contrasts of the final movements, which include a depiction of paradise that calls to mind the Klimt-like heaven of Mahler’s “Symphony of a Thousand.” Glass returns to some of the motifs from the CIVIL warS project, and the orchestral scope and vocal styling recall the grandiloquence of that period. But there’s an even greater sense of play with timbral coloring, and a notable preoccupation with the quieter regions of the dynamic spectrum, as well as fascinating moments of harmonic complexity. Glass veteran Dennis Russell Davies led the Symphony’s 1999 world premiere, and manages to maintain a similar level of excitement in the studio; he gives the score a sense of expanse and space to unfold, and masterfully aligns Glass’s various layerings of musical forces. For all of the inevitable comparisons that might be made with that touchstone of humanistic choral symphonies, the Symphony No. 5 suggests not so much a contemporary take on Beethoven’s Ninth as his Missa Solemnis–a cosmic testament that’s full of gestures both grand and intimate. –Thomas May (Amazon.com)
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专辑曲目:
Disc: 1
1. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: I – Before The Creation
2. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: II – Creation Of The Cosmos
3. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: III – Creation Of Sentient Beings
4. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: IV – Creation Of Human Beings
5. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: V – Love And Joy
6. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: VI – Evil And Ignorance
Disc: 2
1. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: VII – Suffering
2. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: VIII – Compassion
3. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: IX – Death
4. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: X – Judgement And Apocalypse
5. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: XI – Paradise
6. SYMPHONY NO. 5 – REQUIEM, BARDO, NIRMANAKAYA: XII – Dedication To The Merit