多倫多樂團專場音樂會
New Music Concerts Ensemble (Toronto).
菲利普•勒魯科斯
Philippe Leroux
AAA
AAA
為長笛、單簧管、小提琴、中提琴、大提琴、 鋼琴和打擊樂而作
For flute, clarinet, violin, viola, cello, piano and percussion
安東尼•坦
Anthony Tan
樂句觀察
Observing the Ph(r)ase
長笛、雙簧管、單簧管、打擊樂、鋼琴、小提琴、 中提琴、大提琴
Doubling flute, doubling oboe, doubling clarinet, percussion, piano, violin, viola, cello
布萊恩•庫倫
Brian Current
吶喊、西西弗斯、鳥群
Shout, Sisyphus, Flock
長笛、單簧管、打擊樂、鋼琴、小提琴、大提琴
Doubling flute, doubling clarinet, percussion, piano, violin, cello
基思•哈默爾
Keith Hamel
夢想者
Dreamer 長笛、雙簧管、單簧管、打擊樂、鋼琴、小提琴、 中提琴、大提琴
Doubling flute, oboe, clarinet, percussion, piano, violin, viola, cello
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
奧馬爾•丹尼爾
Omar Daniel
第二室內協奏曲
Chamber Concerto No.2
長笛、雙簧管、單簧管、打擊樂、鋼琴、小提琴、 中提琴、大提琴
For flute, oboe, clarinet, percussion, piano, violin, viola, cello
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
特邀中提琴
Guest Violist
邱奕楓
QIOU YIfeng
演奏
PERFORMANCE
多倫多新樂團
New Music Concerts Ensemble (Toronto)
指揮 Conductor
長笛 Flute 雙簧管 Oboe 單簧管 Clarinet 鋼琴 Piano
打擊樂 Percussion 小提琴 Violin 中提琴 Viola 大提琴 Cello
羅伯特 • 艾特肯教授
Prof. Robert Aitken
黛安娜 • 艾特肯女士
Ms. Dianne Aitken
基思 • 艾特肯森先生
Mr. Keith Atkinson
馬克斯 • 克力絲汀先生
Mr. Max Christie
史蒂芬 • 克拉克先生
Mr. Stephen Clarke
理察 • 薩斯先生
Mr. Richard Sacks
科裡 • 蓋默先生
Mr. Corey Gemmell
道格拉斯 • 佩瑞
Mr. Douglas Perry
保羅 • 溫德耐
Mr. Paul Widner
AAA
AAA (1996)
菲利普•勒魯科斯
Philippe Leroux
這部作品於 1996 年為長笛、單簧管、 小提琴、中提琴、大提琴、鋼琴和打擊樂 而作，作品最初是通過設象拉莫所使用的 樂器法，為四臺木管 MIDI 控制器（電子 樂器）創作。該理念嚴格地尊重最初的均 分，將世界上的電子聲音轉為樂器領域的 聲音的一種調換的音樂行為。但是，正如 在這種類型的許多其它作品那樣，在某些 方面很明顯有些過剩，那麼這部作品需要 新的自創。的確，樂器技術引發了電子領 域中所不包含的音樂性。除了其它方面， 我想要從我青少年彈奏爵士的過程中尋找 一些熟悉的聲音。如果作品的的輪廓和總 體結構一致的話，就會產生不同的音樂語 言。一方面，耳朵對音色、力度形態以及 和聲色彩非常敏感。另一方面，傳統的長 笛、單簧管、小提琴……以及音高的優勢 都強調句法因素。在這兩部作品中，雖然 音樂是相同的，但表達的卻是不同的內容。 樂曲開始的部分，取自拉莫的豎琴作品《La Poule》，並發展貫穿了整部作品。《AAA》 這部作品由阿斯 • 摩比利斯委約創作， 於 1998 年 1 月 16 日在法國杜埃競技場 的 l'Ensemble Ictus 首演，喬治 • 埃利奧 科特斯指揮。在 2015 年 12 月 6 日首次 在加拿大多倫多的新音樂會（New Music Concerts）演出。
Written in 1996 for flute, clarinet, violin, viola, cello, piano and percussion, this piece is originally an instrumentation of Image à Rameau, composed for four wind MIDI controllers (electronic instruments). The idea is to transpose musical behaviours from the world of electronic sounds to the instrumental field while strictly respecting the initial partition. But, as in any project of this kind, there is obviously overflowing in a way that the piece acquires a new autonomy. Indeed, the instrumental techniques induce musicality that is not contained in the electronic model. I wanted, among others things, to find some familiar sounds from my teenage years when I was playing jazz. If the shape and overall structure of the piece remain the same, it is not the same musical language. In one case, the ear focuses on timbres, on the dynamic morphology and on the harmonic colors. In another case, the traditional sounds of the flute, the clarinet, the violin... and the predominance of pitches emphasize the syntactic aspect. In both pieces, it is indeed the same music, but does not express the same thing. The initial pattern, developed throughout the work, is extracted from the harpsichord piece La Poule by Jean-Philippe Rameau. AAA was commissioned by Ars Mobilis and premiered by l'Ensemble Ictus, conducted by Georges-Elie Octors, on January 16, 1998 at the Hippodrome in Douai, France. It was first performed by New Music Concerts in Toronto on December 6, 2015.
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
樂句觀察
Observing the Ph(r)ase (2013)
安東尼•坦
Anthony Tan
這是 Recherche 樂團的委約作品。 本作品涉及音樂中一些自相矛盾的場面。 我試著寫出動機、修辭和氛圍並峙或同時 出現的樂句。
「雪是熱的」
Commissioned by Ensemble Recherche, this work explores paradoxical musical situations. I attempted to create musical phrases such that musical gesture, rhetoric and ambient situations are juxtaposed and possibly simultaneously presented.
"this is warm snow"
吶喊、西西弗斯、鳥群
Shout, Sisyphus, Flock (2016)
布萊恩•庫倫
Brian Current
《吶喊、西西弗斯、鳥群》是由加拿 大藝術委員會資助，蒙特婁 Transmission 樂團（與多倫多新樂團合作）委約的作品。 顧名思義，它由 4 分鐘左右的三個樂章組 成。
第一樂章「吶喊」，木管富有色彩的 漸強和樂隊明亮的音色交疊，在結尾處， 各聲部升得更高、織體更明亮。
第二樂章「西西弗斯」，上升和下降 的織體機械地連在一起。正如西西弗斯的 神話一樣，這些音型喚起鳥兒艱難起飛， 又跌倒的挫敗感。
第三樂章「鳥群」，持續音織體伴隨 著像鳥撲動翅膀一樣的管樂和弦樂顫音。 我的興趣不是模仿實際的鳥群，而是營造 一種夢境般的氛圍，撲動的音型時隱時現。
感謝 Transmission 樂團；感謝洛蘭•維 朗古對本作品以及樂團的支持；感謝多倫 多新樂團的委約。
Shout, Sisyphus, Flock was commissioned by Montreal’s Transmission Ensemble (in association with New Music Concerts, Toronto) with funds from the Canada Council for the Arts. As the title suggests, there are three movements of about 4 minutes each,each based on words I taped to the piano early in the composing process (Shout, Sisyphus and Flock) that I hoped described the feeling of each movement I was trying to write.
In the first, Shout, I was interested in colouring crescendos in the woodwinds with bright overlapping patterns in the ensemble. Towards the end, everything rises to even brighter, higher textures.
The second movement, Sisyphus, features rising and falling textures that are inexorably linked to one another. Like the myth of Sisyphus, the gestures evoke the frustration of an inevitable tumble that follows every hard-fought rise.
The third movement, Flock, features droning textures that give way to flutter- like tremolos in the winds and strings. Rather than imitating an actual flock of birds, I was more interested in creating a dreamlike and intimate atmosphere, where fluttering gestures come and go.
With great thanks to the Transmission Ensemble and Lorraine Vaillancourt for their work on this music and for Transmission and New Music Concerts』 commission of this piece.
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
2016 BEIJING INTERNATIONAL COMPOSITION WORKSHOP
2016 北京國際作曲大師班
夢想者
Dreamer (2016)
基思•哈默爾
Keith Hamel
《 夢 想 者 (Dreamer)》 這 部 作 品 基 於我對兩種來源的材料進行的解構。第一 類材料是馬丁 • 路德 • 金於 1963 年在華 盛頓林肯紀念堂發表的著名演講——「我 有 一 個 夢 想（I Have a Dream）」。 第 二類是約翰 • 列儂於 1971 年創作的歌曲
《想像（Imagine）》。從這兩位人物和 他們所傳遞的信息中能發現強烈的聯繫。 這兩位人物都夢想著在未來的世界中，所 有的人都能擁有和平、寬容和平等，他們 希望這個夢想能成為現實。這兩位都是活 動家以及和平主義者，並且都被謀殺。從 這兩位開始想像他們更好的世界開始，已 經半個世紀過去了，然而世界上可能比以 往存在更多的衝突、不公正和狹隘。
我對馬丁 • 路德 • 金的演講和約翰 • 列儂的音樂進行了光譜分析。這些音波結 構形成了《夢想者》整首樂曲的和聲及旋 律材料。你可能會聽到馬丁 • 路德 • 金 在演講中的聲音輪廓以及約翰 • 列儂的音 樂中的和聲這兩類材料中的某些模糊部分 在樂曲中出現，但是這些部分已經被模糊 化或扭曲了——就像是他們的夢想被幾十 年的戰爭和憎惡所遮蔽。儘管如此，我們 要繼續擁有一個更好的世界的夢想不能改 變，這點很重要。正如約翰 • 列儂所說， 「你可以說我是一個夢想者，但我不是唯 一的夢想者。我希望有一天你會加入我們， 世界將成為我們共同的家園。」
Dreamer is based on material deconstructed from two sources. The first is the 1963 speech given by Dr. Martin Luther King Jr. at the Lincoln Memorial – the famous 「I Have a Dream」 speech. The second is the 1971 song Imagine by John Lennon. There is a strong connection between these two men and their messages. Both dreamed of a future world where peace, tolerance and equality among all people would become a reality. Both were activists and pacifists, and both were murdered. It is now almost half a century since these men imagined their better world, yet there is probably more conflict, injustice and intolerance in the world than ever.
I performed spectral analyses of Martin Luth er King’s s peech an d John Lennon’s music. These sonic structures form the harmonic and melodic material used throughout Dreamer. You might hear vague references to the melodic contours of King’s speech or to the harmonies of Lennon’s music, but these references are heavily obscured and distorted – much like their dreams that have become obfuscated by decades of war and hatred. Despite this, it is important that we continue to dream of a better world. As John Lennon says, 「You might say I’m a dreamer, but I’m not the only one. I hope one day you』ll join us and the world will live as one.」
第二室內協奏曲
Chamber Concerto No.2 (2016)
奧馬爾•丹尼爾
Omar Daniel
第一樂章：託卡塔－野蠻的快板 第二樂章：輓歌－柔板；遙遠地 第三樂章：單聲－閃耀的急板
《第二室內協奏曲》是我專門獻給羅 伯特•艾特肯和他的新樂團的第四部作品。 我對協奏曲形式抱有極大興趣，已經寫了 包括一部室內協奏曲和一部樂隊協奏曲在 內的七部協奏曲。多倫多新樂團編制小巧， 但提出了與我目前寫的大型協奏曲不同的 新挑戰。前人有一些類似作品，如利蓋蒂 的《室內協奏曲》和庫爾塔格的《史蒂芬 的墓碑》
I Toccata- Allegro Barbaro; II Elegia- Lento; da lontano; III Monody- Presto scintillare
Chamber Concerto no. 2 is my fourth work written specifically for, and dedicated to, Robert Aitken and the musicians of New Music Concerts.My keen interest in the concerto idiom has resulted in seven concertos, including a chamber concerto and concerto for orchestra. The NMC ensemble is compact, but presents interesting challenges that are different from the large-scale concertos that I have written up until now. And, there are precedents for this in the literature: Ligeti’s Chamber Concerto and Kurtag’s Grabstein fur Sephan, for example.
在構思「協奏曲」時，巴託克浮現在 我腦海裡。他的《樂隊協奏曲》影響了我 幾十年。2013 年我寫了《情侶遊戲》， 直接引用了巴託克《樂隊協奏曲》的第二 樂章。我的《第二室內協奏曲》是基於協 奏曲的概念，但樂隊編制不大，是中型的。 於是聽眾會聽到不同獨奏或獨奏組樂器的 組合，往往是炫技性質的。這模仿了巴羅 克大協奏曲的原則，這部作品的確用了很 多巴羅克風格的織體和節奏。
In relation to the idea of 『concerto,』 Bartok comes to mind. His Concerto for Orchestra has influenced me over decades, and in 2013 I wrote Giuoco delle Coppie, the title being a direct reference to the second movement of Bartok’s work. My Chamber Concerto no. 2 plays upon the idea of a concerto, but for a moderately sized group of instrument rather than full orchestra. So, the listener will hear different combinations of instruments as individual soloists or groups of soloists, often used in quite a virtuosic manner. This mimics the principle of the baroque concerto grosso, and indeed my work uses textures and rhythms that may well remind one of the Baroque style.