灼烧
派特立斯．法斯卡（1946年生）是拉脫維亞當代最著名的作曲家之一，拉脱维亚当代作曲家，1946年出生于艾兹普特。父亲是苏联时代的政府高官。青年时代就读于立陶宛的音乐学府，毕业以后进入拉脱维亚国家歌剧院乐团任低音提琴手。1978年从拉脱维亚音乐学院作曲班毕业，一直留校任教。除教学以外，他也把精力投入到作曲领域。
擅长表现善与恶、大自然与人类冲击、失落天堂与当前灾难以及上帝与人之间的紧张状态，他早岁在立陶宛爱乐管弦乐团和拉脱维亚室内管弦乐团拉低音提琴，后来随名师乌特金斯攻作曲，接着担任民俗舞蹈乐团的总监并任教音乐院。法斯卡的音乐观深受波兰大作曲家卢托司拉夫斯基影响，而其作品的出发点则为世界的苦难，以及拉脱维亚人民的绝望和抵抗。
Concerto for Violin and String Orchestra "Distant Light"
Symphony for Strings "Voices"
KREMERata Baltica, Gidon Kremer, Teldec 3984-22660-2
"Sometimes I wonder whether we here in Britain can understand the creative work of East European peoples who have been persistently invaded, abused, repressed and occupied by foreign forces. True, any art that justifies the name can speak to us on various levels, but when a composer like the Latvian Peteris Vasks alludes to 'tanks, cruise missiles and oppressed peoples' (as in the second movement of Voices ("Balsis"), memories of mere news footage hardly constitute profound recollection. Which is where music comes in, especially when it hints at the emotional turmoil that Vasks and his people have endured and overcome. The story that Voices (1991) tells is far from comfortable. Even the birdsong that dominates the second movement is cast in a minor key (nothing like the wonder-struck chirrupings that fill Bartok's various 'night music' episodes) and the frindling dissonances that invade the third movement are deeply unsettling. And yet there is serenity, too, the sort that Kancheli writes on to his similarly disquieting canvases, albeit using rather fewer notes.
Vasks's style is consistent with his best Baltic contemporaries. Thematic germs are invariably simple or hymn-like and the music is grounded on a secure tonal base. But where Kancheli plays on violent contrasts between dynamic extremes, Vasks - like Paert in,say, Fratres - is more prone to employ sustained crescendos.
The single-movement violin concerto Distant Light ("Tala gaisma") was composed in 1996-7 for Gidon remer and his newly-formed Kremerata Baltica and was indeed the very first work that they recorded. Early on in the work, sporadic pizzicatos signal subtle changes in volume or texture. Vasks uses solo cadenzas rather as Shostakovich does in his First Violin Concerto, as a way to accumulate tension. The first cadenza works towards a sudden increase in tempo and a folk-like jagged figure which in turn takes us on to a second cadenza and, beyond a spot of heated argument, a return to relative lyrism. Some of the later passages create a distinctly romantic aura, though 'aleatoric chaos' sets in shortly before the end. It's a real violin concerto, ardent and technically exacting with plenty of chordal work and soaring melodic lines that should plwasw any discerning virtuoso. Kremer sounds in his element, and his command of rhythm and nuance are all that one might expect.
This is music with a message, music that recounts history in a way that recalls Shostakovich and - more subtly, perhaps - Karl Amadeus Hartmann. Its heartache and austerity will not suit all moods, but one cannot gainsay its sincerity or directness. The recordings pull no punches.
Gramophone, October 1999, page 60
-----------------------------
Concerto for Violin and String Orchestra "Distant Light"
Symphony for Strings "Voices"
KREMERata Baltica, Gidon Kremer -Violine
"If the works Distant Light and Voices are any indication, Latvian composer Peteris Vasks is one of our greatest living composers. These elegiac works display a profound sense of passion, energy, and folksiness that seems to pull at the listener's heartstrings. Gidon Kremer, as usual, delivers an inspiring performance here. If you like Arvo Paert and want to hear more music from the Baltic region, this is a great place to start."
America Online, December 1999
-----------------------------
Jason Verlinde:
"The grand scale of Arvo Paert and Giya Kancheli, some very striking climaxes, and the nostalgic strains of Latvian folk music seem to collide in the compositions of Peteris Vasks. Romantic, melancholic, and utterly enjoyable, Vasks sounds at times like Paert for people with short attention spans - as glacial as his music can get, an explosive violin solo or familiar waltz is just around the corner. There's an unmistakable sadness that never escapes his work, obviously reflective of the tumultuous nature of his Latvian homeland. But this emotion-filled music seems tailor-made for violinist Gidon Kremer, who accompanied here by his hand-picked KREMERata Baltica ensemble of young Baltic-area musicians - clearly embraces the works. Distant Light is a 30-minute single-movement concerto, where graceful string passages give way to soaring violin solos. Voices is a symphony for strings with quiet expanses, birdsong, and a tumultuous third movement. Simply put, these are gorgeous works. Vasks is clearly a composer to watch and Kremer, as usual, is brilliant."
Amazon.com
-----------------------------
我就说说第一曲，不知道是不是因为用hd600听的关系，如同在听现场的感觉
第一曲太吸引人了，Distant Light？我真的感觉自己的眼睛被灼烧的感觉，一直在流泪
而且恐怖的是，我根本没有在想什么，只是纯粹的在音乐
后面的交响也不错
原来我也欣赏现代作品的
Gidon Kremer功力超级深厚
而Peteris Vasks给人一种线性的Bartok的感觉
不是不伦不类，而是一种新意，一直在探你的内心
当你想，如果这个音再继续几秒就好了，它果然就是这样---美妙。
http://home.wanadoo.nl/ovar/sovrev/vasks/va22660.htm
擅长表现善与恶、大自然与人类冲击、失落天堂与当前灾难以及上帝与人之间的紧张状态，他早岁在立陶宛爱乐管弦乐团和拉脱维亚室内管弦乐团拉低音提琴，后来随名师乌特金斯攻作曲，接着担任民俗舞蹈乐团的总监并任教音乐院。法斯卡的音乐观深受波兰大作曲家卢托司拉夫斯基影响，而其作品的出发点则为世界的苦难，以及拉脱维亚人民的绝望和抵抗。
Concerto for Violin and String Orchestra "Distant Light"
Symphony for Strings "Voices"
KREMERata Baltica, Gidon Kremer, Teldec 3984-22660-2
"Sometimes I wonder whether we here in Britain can understand the creative work of East European peoples who have been persistently invaded, abused, repressed and occupied by foreign forces. True, any art that justifies the name can speak to us on various levels, but when a composer like the Latvian Peteris Vasks alludes to 'tanks, cruise missiles and oppressed peoples' (as in the second movement of Voices ("Balsis"), memories of mere news footage hardly constitute profound recollection. Which is where music comes in, especially when it hints at the emotional turmoil that Vasks and his people have endured and overcome. The story that Voices (1991) tells is far from comfortable. Even the birdsong that dominates the second movement is cast in a minor key (nothing like the wonder-struck chirrupings that fill Bartok's various 'night music' episodes) and the frindling dissonances that invade the third movement are deeply unsettling. And yet there is serenity, too, the sort that Kancheli writes on to his similarly disquieting canvases, albeit using rather fewer notes.
Vasks's style is consistent with his best Baltic contemporaries. Thematic germs are invariably simple or hymn-like and the music is grounded on a secure tonal base. But where Kancheli plays on violent contrasts between dynamic extremes, Vasks - like Paert in,say, Fratres - is more prone to employ sustained crescendos.
The single-movement violin concerto Distant Light ("Tala gaisma") was composed in 1996-7 for Gidon remer and his newly-formed Kremerata Baltica and was indeed the very first work that they recorded. Early on in the work, sporadic pizzicatos signal subtle changes in volume or texture. Vasks uses solo cadenzas rather as Shostakovich does in his First Violin Concerto, as a way to accumulate tension. The first cadenza works towards a sudden increase in tempo and a folk-like jagged figure which in turn takes us on to a second cadenza and, beyond a spot of heated argument, a return to relative lyrism. Some of the later passages create a distinctly romantic aura, though 'aleatoric chaos' sets in shortly before the end. It's a real violin concerto, ardent and technically exacting with plenty of chordal work and soaring melodic lines that should plwasw any discerning virtuoso. Kremer sounds in his element, and his command of rhythm and nuance are all that one might expect.
This is music with a message, music that recounts history in a way that recalls Shostakovich and - more subtly, perhaps - Karl Amadeus Hartmann. Its heartache and austerity will not suit all moods, but one cannot gainsay its sincerity or directness. The recordings pull no punches.
Gramophone, October 1999, page 60
-----------------------------
Concerto for Violin and String Orchestra "Distant Light"
Symphony for Strings "Voices"
KREMERata Baltica, Gidon Kremer -Violine
"If the works Distant Light and Voices are any indication, Latvian composer Peteris Vasks is one of our greatest living composers. These elegiac works display a profound sense of passion, energy, and folksiness that seems to pull at the listener's heartstrings. Gidon Kremer, as usual, delivers an inspiring performance here. If you like Arvo Paert and want to hear more music from the Baltic region, this is a great place to start."
America Online, December 1999
-----------------------------
Jason Verlinde:
"The grand scale of Arvo Paert and Giya Kancheli, some very striking climaxes, and the nostalgic strains of Latvian folk music seem to collide in the compositions of Peteris Vasks. Romantic, melancholic, and utterly enjoyable, Vasks sounds at times like Paert for people with short attention spans - as glacial as his music can get, an explosive violin solo or familiar waltz is just around the corner. There's an unmistakable sadness that never escapes his work, obviously reflective of the tumultuous nature of his Latvian homeland. But this emotion-filled music seems tailor-made for violinist Gidon Kremer, who accompanied here by his hand-picked KREMERata Baltica ensemble of young Baltic-area musicians - clearly embraces the works. Distant Light is a 30-minute single-movement concerto, where graceful string passages give way to soaring violin solos. Voices is a symphony for strings with quiet expanses, birdsong, and a tumultuous third movement. Simply put, these are gorgeous works. Vasks is clearly a composer to watch and Kremer, as usual, is brilliant."
Amazon.com
-----------------------------
我就说说第一曲，不知道是不是因为用hd600听的关系，如同在听现场的感觉
第一曲太吸引人了，Distant Light？我真的感觉自己的眼睛被灼烧的感觉，一直在流泪
而且恐怖的是，我根本没有在想什么，只是纯粹的在音乐
后面的交响也不错
原来我也欣赏现代作品的
Gidon Kremer功力超级深厚
而Peteris Vasks给人一种线性的Bartok的感觉
不是不伦不类，而是一种新意，一直在探你的内心
当你想，如果这个音再继续几秒就好了，它果然就是这样---美妙。
http://home.wanadoo.nl/ovar/sovrev/vasks/va22660.htm
- 表演者: Gidon Kreme
- 发行时间: 1999-11-09
- 流派: 古典
- 出版者: Teldec