[演出] 3/8(二)交大演藝廳：鋼琴與電聲的音樂會

看板MusicStudent作者Mallarme (馬拉美)時間13年前 (2011/02/11 17:19)推噓1(1推 0噓 0→)

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演出時間｜2011年3月8日，星期二，19:30 演出地點｜交大演藝廳(活動中心2F) (新竹市大學路1001號國立交通大學) 演出人員｜任真慧(鋼琴)、司徒雅各(電腦音樂) 曲目｜強納森．哈維: 梅湘之墓 *台灣首演 Jonathan Harvey: Tombeau de Messiaen *Taiwan premiere 任真慧: 來自夢境 *台灣首演 Chen-Hui Jen: d’un songe *Taiwan premiere 鍾啟榮: 時間之流 II *世界首演 Kee Yong Chong: Time flow II *World premiere 高橋悠治: 江神 *台灣首演 Yuji Takahashi: Maeander *Taiwan premiere 司徒雅各: 近乎誦禱 Jacob David Sudol: …approaching a prayet 湯淺讓二: 向午夜之陽 *台灣首演 Joji Yuasa: Towards “The Midnight Sun” *Taiwan premiere 票務資訊｜主辦單位：交大藝文中心售票地點：交大浩然圖書館 B1 藝文空間 (03)5712121#52666 交大活動中心 2F 華通書坊 (03)5712121#59056 誠品書店新竹店 B2 服務台 (03)5278907#254 諮詢電話： (03)5712121#31953 票　　價：學生票 100 元 / 全票 200 元節目介紹｜「自然與想像的詩意空間」- 為鋼琴與電聲的音樂 A Poetic Space filled with the Natural and the Imagined: Music for Piano and Electronic Sound 如本場音樂會標題所示，在合作無間的演出者任真慧與司徒雅各的生活及藝術美學中，自然與想像是最重要的兩項元素：作為一種全面性的宇宙觀，結合並包含多重層次面相，而非二分為人為與自然、抑或是想像與實現的詮釋。全場節目皆為結合鋼琴與電聲之曲目──此二種媒材皆具有寬廣的音域層次、調色、配器等特色，組合在一起時能將作曲家樂思及想像發揮得淋漓盡致，創造出無限可能的聲響空間。譬如哈維在作品《梅湘之墓》使用不同的調律在預錄的鋼琴及現場演奏的鋼琴聲部中，以造成神奇炫目的色彩共鳴；高橋悠治的作品《江神》則著重於鋼琴聲響的形變與延伸，如走入迷宮般奇幻；湯淺讓二的作品《向午夜之陽》以各自獨立卻又重新結合的鋼琴與預錄的聲響共構出一幅充滿想像力的聲音風景畫。在互相迥異的大師經典作品之外，在本場節目中並將演出三首中青年作曲家之新作，帶領聽眾走入前所未體驗過的，聲響的詩意空間。 Among the many elements that make up life and art, for the Chen-Hui Jen and myself there are two that resonate with particular strength – the natural and the imagined. To us the natural does not imply a division between nature and humans but rather the cosmology that encompasses both. Similarly, for us the imagined does not imply a division between imagination and reality, but rather the many points, planes, and spaces where imagination and reality meet. For our program we chose to combine the acoustic piano with electronic sounds because both on their own are extremely efficacious tools to evoke the natural and the imaged; and, when combined they provide the composer with an extremely diverse and powerful sonic orchestral palette that is both large and intimate at once. To understand the power of works for piano and electronic sounds consider, for example, the miraculous resonances of the many differently tuned pianos in Jonathan Harvey’s Tombeau de Messiaen, the live sonic transformation of an acoustic piano in Yûji Takahashi’s Meaender, or the two separate but joined sonic landscapes in Joji Yuasa’s Towards “The Midnight Sun”. By providing such a diverse collection of the works, including the three described above and three new works for this medium, we believe that this concert will guide the listener through a truly remarkable poetic space unlike one that he or she has ever encountered before. -Jacob Sudol *演出資訊可使用或不使用本模板，發文時請將本行刪除 *本模板不適用板規3，請放心發文 -- 法文學得好得學文法 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 66.75.30.13 ※ 編輯: Mallarme 來自: 66.75.30.13 (02/11 17:22)