[已注销]的音乐

2010-08-07 23:30:20 每个专辑似乎在变幻风格，可是这种风格又是典型的对不同类型/乐队的模仿，例如明显的他模仿了red house painter等等。 所以我猜想，他们不属于这样一种乐队：有一类乐队，他们有个焦灼的点，他们需要不停的倾述，用他们自己的只允许/擅长的方式，这当然会让他们显得单调，但他们是特别的。P.M.需要的似乎不是倾诉，是找到个主题，然后广泛的听，看哪个形式可以在这里高密度使用下。他们的形式有点像pop业界的模式，八股基础上，加点新元素，做成容易消费的略有新意绝不意味着新的美学/冲撞的产品。他们是相对不那么流行的圈子里的相对而言的快速消费品，搭载着各种小清新，shoegaze, 氛围，lo-fi。 我没听出他们内在来，只是听出顺耳来。 暂时的感觉。

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Herbert Henck: piano ECM New Series 1621 CD 453 914-2 "Whole slabs of sound crumble and vanish between the all-engulfing ocean of silence, until only the twelve notes of the row remain, and even those are plucked off, one by one." André Hodeir's poetic characterization of Barraqué's Sonate as a work in which music finally loses an heroic battle against encroaching silence is better-known, perhaps, than the piece itself. Barraqué's Sonata has remained one of the toughest pianistic challenges in modern composition, a much-discussed and seldom played piece. With its oblique trajectory and staggered dying fall, its asymmetric and sometimes apparently irrational rhythms, and its buried or "negative" tone-rows, it remains a veritable Matterhorn of abstraction. Only a handful of pianists have faced up to it, among them Yvonne Loriod, Claude Helffer and Roger Woodward - whose 1972 recording of the sonata was considered, for a very long time, to be as far as any inteirpreter could get with this intentionally recalcitrant, secretive material. Musicologist Richard Toop has drawn attention to Barraqué's sympathy for Debussy's standpoint on the question of musical accessibility: "Music should really have been a hermetic science, hedged around by texts whose interpretation would be so long and difficult as to surely discourage that troop of people who make use of music as nonchalantly as one uses a pocket handkerchief." "The Sonata defies real analysis," Hodeir had insisted in 1961, "It is unclassifiable, incomparable and, to some degree, still incommunicable." And yet even then, a handful of players had a sense of its worth. Composer Bill Hopkins was smitten by the Sonata, and listened to it "repeatedly, intently, with an overwhelming apprehension of living greatness. If music meant anything today, only here was that meaning fully grasped..." Barraqué himself was prepared to wait for these sentiments to be expressed more universally, estimating, in Propos Impromp˜tu, that "it will take fifty years to establish if I am the musician others - including myself - think I am." His early death in 1973, at the age of 45, left his most ambitious undertaking, the sprawling cycle La Mort de Virgile, uncompleted, and deprived him of the opportunity to witness the beginnings of a revival of interest in his work, when the Piano Sonata would repeatedly be compared with the Boulez sonatas and with Beethoven's "Hammerklavier" sonata op. 106. Born into a middle class family in Puteaux in 1928, Jean Barraqué had no intention - despite early piano and violin lessons - of becoming a composer until he was confronted with the "emotional shock" of hearing a gramophone recording of Schubert's Symphony No. 8 "Unfinished" at the age of 12. Schubert and Beethoven became inspirational guiding lights through his years as fledgling composer. Then, in 1948, Barraqué joined Messiaen's celebrated Paris Conservatoire class for analysis and rhythm, where he discovered simultaneously the work *of Debussy (about whom he would write at length) and - newly imported into France - the music of Webern. From 1951 to 1954, Barraqué was a member of the ORTF Groupe de Musique Concrète and briefly made use in his music of electronic resources. The Piano Sonata, however, was the first of his major works, and was completed in 1952. Herbert Henck's gradual immersion in Barraqué's sound world is meticulously detailed in the pianist's liner notes, as is his coming to terms with the Sonata's silences and his "decision to dwell on a section with tone-cells that constantly moved further apart, and to increase nine pauses... The growing silence I saw as a transition, as a kind of preparation for the breadth of the second movement, which follows the first almost casually... The prescribed tempi and pauses almost froze the music here, and more and more solidifying shapes of glassy beauty, peace and purity were created. "At the end of the learning process there was not a single point throughout the Sona‚ta where I had a sense of too much theory or too little expression; I found that everywhere there was the same effect of musical commitment, energy and creative force, the same red-heat of the spirit." Indeed, Henck's driven performance puts the lie to the frequently-voiced opinion that the dominant mood of Barraqué's work is one of bleakness. Dominique Jameux has observed that "Barraqué's high music drew its power from the contradiction between the will to construct and the necessity of silence in a world tending to the destruction of values, whether musical or ethical." This is the contradiction that Herbert Henck explores most persuasively. * * * Herbert Henck, born 1948 in Treysa, Hessen, Germany, is a freelance pianist specializing almost exclusively in 20th century music, about which he has written several books and numerous essays. From 1980 to 1985 he published, under his own imprint, a five-volume series of yearbooks entitled Neuland/Ansätze zur Musik der Gegenwart (N/ew Ground/Approaches to Contemporary Music) to which more than a hundred authors contributed. In 1994 his book Experimentelle Pianistik. Improvisation, Interpretation, Komposition. Schriften zur Klaviermusik (1982-92) was published. Henck's previous recordings for ECM New Series presented works of Federico Mompou and Alexandr Mosolov, historical contemporaries and near polar opposites in terms of the dynamics and intensities of their work. Some press reactions: Mompou: "Overall there is a sense of tranquil, private self-communion which, paradoxically, exerts a strange spell on the listener. Herbert Henck plays this collection with a tender sensitivity and an ideally suited luminosity of tone. An exceptional and haunting issue, whose sounds seem to hang in the air." - Gramophone (Editor's Choice); "Playing Mompou requires the most sensitive attention to the song between the notes - like the reverberations between the pealing of faraway bells. Herbert Henck finds the sti-ll point in these little mesmerizing eddies of sound."- New York Observer. Mosolov: "Another bull's-eye for ECM. Alexandr Mosolov's music calls for a powerful keyboard presence and in Henck has found it. Henck's keyboard presence approaches genius with particular regard to dynamic gradation." - Fanfare; "The sheer thickness of the sound is mesmerizing. Mr Henck plays it as well as could be imagined," - New York Times. "Henck tears into the music with sparks flying. There's no effort to prettify the scores. Powerful yes, but Mosolov was not about to soothe the ear with consolation in desperate times. In excellent, wide-ranging dynamics, the recording is a triumph." - In Tune; "Herbert Henck's skills almost border on Herculean, yet never does his remarkable technical prowess overshadow the wellspring of passion present in this thoroughly affecting music." - The Music Advocate. http://www.ecmrecords.com/Background/Background_1621.php

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