最新演出信息:

2019-03-16 李飚打击乐团“从巴洛克到探戈”香港巡演

发布时间:2019-07-29浏览次数:
演出时间:2019年3月15日 20:00

演出地点:香港文化中心音乐厅

演出曲目及简介:

鲁迪·鲍尔:七海扬帆
《七海扬帆》是李飚打击乐团成员之一,曾在巴伐利亚广播交响乐团担任打击乐手的鲁迪·鲍尔的原创作品。

Rudi Bauer:Seven Seas
Seven Seas is composed by Rudi Bauer, who is the member of Li Biao Percussion Group, and he once served as the percussionist in Symphonieorchester des Bayerischen Rundfunks.
 
安东尼奥·维瓦尔第:D大调协奏曲
大协奏曲出现在十七世纪下半叶,它是一种由钢琴或两三个弦乐器、管乐器组成的独奏组与管弦乐队协奏,维瓦尔第的主要贡献是将协奏曲的形式以其大量作品中的快板 - 慢板 - 快板的结构固定下来。在今天,我们用现代的打击乐器来演奏这样的作品,除了在音乐上要尊重近三百年前音乐的风格,同时要寻找在乐器上更多的演奏技巧。如在该曲2乐章中,我们使用了低音提琴的弓子来演奏打击乐的键盘乐器,目的是带给大家耳目一新的打击乐音响空间。
Antonio Vivaldi: Concerto in D Major
The formation of the concerto originated in the second half of the 17th century. It is typically presented with a solo instrument, such as a piano, string, or wind variety, performing together with an orchestra. Vivaldi’s main contribution to the composition of the concerto is to structure the tempo of the music movement into: Fast - Slow - Fast. This formation has become the foundation of all concerto compositions. Today, we use modern percussion instruments to perform Vivaldi’s music, not only to salute to the Baroque music from three hundred years ago, but also to seek new technique and sound in Baroque music, which can be performed on modern percussion instruments. The aim of this new and vibrant adventure is to allow the audience to experience a fresh, acoustic enjoyment of the percussion instruments.
 
斯蒂夫·莱奇:木之音
《木之音》很好的展现了如何用最基本的元素来创造音乐。通过击木的击打确定音调,在曲子正式开始后,该乐器元素则逐渐隐藏并消失在了背景音乐中。要理解这个作品,只需要想象你在听万花筒。你的脑海中原本已经建立了一个图案,然后随着万花筒的旋转图案在不断变化。在10分钟的时间范围内,你可以感受到58个图案的变化。三个这样部分组成了曲子的整体。每个部分都增加了乐曲的紧凑性,并通过第一个击木乐手制定的基础四分音符与相邻乐手相互联系和配合。
Steve Reich: Music for Pieces of Wood
Music for Pieces of Wood, is a fine example of how something of interest can be made with only basic elements. Pitch is involved in the tuning of the claves, but after the piece is launched, that parameter fades more to the background. To understand the piece, imagine listening to a kaleidoscope. A pattern is established, then it shifts as with the click of the kaleidoscope. There are 58 shifts of pattern within a general 10 minute time frame. Three general sections comprise the overall form. Each section employs an additive progession to build density and is linked to the neighboring section by the underlying quarter note laid down by the first clave player.
 
乔治·哈米尔顿·格林:雷格泰姆组曲
木琴演奏大师乔治·哈密尔顿·格林(1893-1970)生于美国内布拉斯加州的奥马哈。格林的父亲是一个乐队队长,在父亲的鼓励下,格林11岁开始学习演奏木琴,学琴不到两年,格林就在父亲的乐队里担任独奏演员。不到18岁,格林已经是一个技惊四座享誉全球的著名木琴演奏家。
20世纪30年代初,格林开始出版了自己创作的一系列木琴独奏作品,其中包括“路口”专辑。1946年格林淡出音乐舞台,兴趣转向了绘画,成了一位很有成就的插图画家和卡通画家。
George Hamilton Green: Ragtime Suite
Xylophone virtuoso George Hamilton Green (1893-1970) was born in Omaha, Nebraska, Green began playing xylophone at the age 11, having received plenty of encouragement from his bandleader father. Within two years the youngster was a soloist in his father’s outfit, and upon turning 18 he headed into vaudeville where he made an international reputation for himself as a virtuoso, show-stopping xylophonist.
By the early 30s, G.H.Green had begun publishing a series of solo xylophone compositions including “Cross Corners”. In 1946, Green retired from music business, then turned around and sketched a successful career for himself as an artist, illustrator, and cartoonist.
 
三木稔:马林巴圣曲
三木稔的《马林巴圣曲》创作于1983-84年,是为致敬日本马林巴艺术家安倍圭子所作。 这个新版的《马林巴圣曲》包含了每个表演者的独立部分。作曲家指,这件作品是以有机的方式组成的,作品的前半部分是静态安魂曲,而后半部分则是充满生气的复活。作品第一部分以马林巴独奏开始,随后加以太网金属打击乐声音,然后是木制打击乐声音。在乐曲的后半部分,3名打击乐手开始用鼓演奏,节奏显着增加。该作品非常适合优秀的马林巴演奏家和打击乐手进行演奏。该作品也是有史以来最著名的且经常被录制的马林巴作品之一。
Minoru Miki: Marimba Spirituals
Marimba Spiritual by Minoru Miki was written in 1983-84 and is dedicated to Japanese marimba virtuoso Keiko Abe. This NEW edition of Marimba Spiritual contains the score and separate parts for each performer! According to the composer, the piece is composed in an organic fashion, with the first half of the piece as a static requiem and the last part a lively resurrection. The first section begins with marimba solo then adds in etherreal metallic percussion sounds, followed by wooden percussion sounds. These all build in to the second half of the piece with the 3 percussionists swtiching to drums and the tempo increasing significantly. This piece is a great feature for very advanced marimbists and percussionist. A show-stopper for sure! Marimba Spiritual is one of the most famous and often recorded marimba pieces ever written.
 
-----INTERVAL 中场休息-----
 
约翰·塞巴斯蒂安·巴赫:意大利协奏曲,作品971
巴赫受到了意大利的影响,而到了莱比锡时代之后,把研究所获得的意大利型协奏曲的方法,活用于单一乐器,促成了“意大利协奏曲”的作品。巴赫的意大利协奏曲其实与通常意义上的协奏曲不同,只由一件乐器演奏(通常是大键琴或钢琴),但巴赫特意标明要用两层键盘的大键琴演奏,就是为了以两层键盘不同音色的对比,模仿类似协奏曲多件乐器之间的对比。此曲虽不长,却是巴赫键盘乐中最著名的作品之一,经典演绎颇多。此曲将由两架马林巴演奏。
J.S.Bach: Italian Concerto. BMV 971 1.mov.Allegro
J.S.Bach’s influences by the Italian culture are largely apparent in his musical works; after he transitioned to the Leipzig era. He structured the performance styles of the Italian concerto into single or double keyboard instruments, which greatly differ from the normal concert composition formalities. J.S.Bach intended this Italian Concerto to be performed with double layer keyboards in order to imitate and compare the multiple sounds of the instruments in the orchestra. This is a short piece but it is one of the most celebrated key board compositions by Bach. This piece will be performed by two marimbas in this recording.
 
沃夫冈·若芬德:交叉,为小军鼓独奏所作曲
该曲是沃夫冈为致敬其好友,彼得·赛德勒教授所作。创作于1999年。
W.REIFENDER: Crossover for Snare Drum Solo
Dedicated to his friend, Professor Peter Sadlo. Composed 1999.
 
菲利普·永克:塔克拉玛干
塔克拉玛干沙漠是世界第二大流动性沙漠。它位于中国西北部。这个名字可能来自阿拉伯语的“塔克”和“玛干”,意为“废墟之地”。音乐结合了亚洲和阿拉伯的影响。
菲利普·永克,此曲的作曲家,说到:“我想表达沙漠能够展现出的不同面孔的印象:寂静,空旷以及凶猛的沙漠风暴,即‘卡拉布兰’,黑色风暴。我是为我们的打击乐二重奏组合写作的这首乐曲,我很荣幸应李飚教授之邀为李飚打击乐团改编为重奏版。”
Philipp Jungk: Taklamakan
Taklamakan is located in the Northwest of China and constitutes the second largest shifting sand desert in the world. The name, ‘Taklamakan’ comes from the Arabic words ‘Tark’ and ‘Makan’, both of which translate into ‘The Place of Ruins’. This composition has influenced and connected Asian and Arabic music from their origins.
Philipp Jungk, the composer of this piece entitled ‘Taklamakan’ said, “I want to convey an impression of all the different faces that the desert can reveal: Silence, Emptiness, Power of the Sand Storm -- also called ‘Kara Buran’ in Arabic, and the Black Storm. I’ve composed this music originally for the Percussion Duo ‘Double Drums’, and it was an honor when Professor Li Biao asked me to expand the duo version into an ensemble version for the Li Biao Percussion Group.”
 
皮亚佐拉组曲
1. 鲨鱼
《鲨鱼》是皮亚佐拉极受欢迎的乐曲,除了双音,複杂的节奏音型和不时突起的旋律都让听众会产生意料之外的冲突感。标题的鲨鱼并非指音乐本身凶勐暴动,而是皮亚佐拉有几年夏天喜欢在乌拉圭的埃斯特角城钓鲨鱼而产生灵感。
2. 天使之死
这是皮亚佐拉为1962年AlbertoRodriguezMuñoz的戏剧《天使的探戈》所写配乐中的高潮曲目。在剧中,一位天使治愈并慰藉了布宜诺斯艾利斯破旧街区的居民,但最终却在一场战争中被杀死了。《天使之死》后来被收录进了至少两套皮亚佐拉有关天使的曲目。皮亚佐拉也在很多场合演出并录制了这首曲子。
3. 自由探戈
《自由探戈》是于1974年在米兰录制并出版。标题把“Libertad”(西班牙语为自由)和“Tango”合二为一。该曲象征着皮亚佐拉从古典探戈到新探戈的突破。该曲目在欧洲地区倍受赞誉。
PIAZZOLLA Pieces
1. Escualo
Escualo is a popular piece of Piazzolla. In addition to the two-tone, complex rhythm patterns and occasional pop-up melody, the audience will have an unexpected sense of conflicts. The name Escualo does not mean that the music itself is fierce and violent, but that Piazzolla has been inspired by the fact that he likes to fish sharks in Punta del Este in Uruguay during summer times for several years.
2. La Muerte del Angel
This is the climactic piece Piazzolla provided for his incidental music to the 1962 Alberto Rodriguez Muñoz play Tango del ángel, in which an angel heals the spirits of the residents of a shabby Buenos Aires neighborhood, but is ultimately killed in that most Argentine of pastimes, a knife fight. Death of the Angel later found its way into at least two suites of Piazzolla's Angel-related music. Piazzolla performed and recorded the piece on many occasions.
3. Libertango
Libertango is a composition by tango composer Astor Piazzolla, recorded and published in 1974 in Milan. The title is a portmanteau merging "Libertad" (Spanish for liberty) and "Tango", symbolizing Piazzolla's break from Classical Tango to Tango Nuevo. Libertango was universally praised in Europe and he formed the Conjunto Electronico.
 
鲁瑟·培克 腾飞
美国作曲家鲁瑟·培克1966年为三名打击乐演奏者作曲,三名打击乐演奏者个演奏的三个鼓包括,一面低音大鼓,一个中音鼓和一个高音鼓。组品被分为两个部分。第一部分以节奏为特色,音乐上以对话形式进行;在第二个部分,开始到最后16分音符都占据了最重要的为止,最终由他们的最大限度的震撼人心的渐强儿结束。作曲家在这个作品中最想描写的是3架直升飞机飞翔的情景。
Rusell Peck:Lift off
Rusell Peck compose this piece in 1966 for 3 percussionist or more. He wrote for 3 percussionists to play 3 drums.(one base drum and tom tons). This piece has two pars.first part as percussionist use rhythm to have interesting conversation through drums.second part,16th note stand as the important parts and it stands at the end with a strong closing. The sound effect of the drum is like the helicopter just take off the ground.

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