Claude Vivier (1948 -1983)
帕拉米拉博Paramirabo (1978)
为长笛、小提琴、大提琴和钢琴而作
für Flöte, Violine, Violoncello und Klavier
Michel van der Aa (1970)
重燃Rekindle (2009)
为长笛和录音而作
für Flöte und Soundtrack
Tristan Murail (1947)
日落的十三种色彩Treize couleurs du soleil couchant (1978)
为长笛、单簧管、钢琴、小提琴和大提琴而作
für Flöte, Klarinette, Klavier, Violine und Violoncello
中场休息 intermission
Cort Lippe (1953)
为踩镲和电脑而作的音乐 Music for Hi-Hat & Computer (1998)
John Cage (1912–1992)
五Five (1988)
为五个任意声部或乐器而作
für fünf beliebige Stimmen oder Instrumente
Karin Haußmann (1962)
如火的慢板a fuoco lento (2009)
为长笛、单簧管、打击乐和钢琴而作
für Flöte, Klarinette, Schlagzeug und Klavier
贾国平 (1963)
竹影萧疏Scattered shades (1997/2014)
为长笛、单簧管、小提琴、大提琴和钢琴而作
für Flöte, Klarinette, Violine, Violoncello und Klavier
远飏室内乐团
青年作曲家优秀室内乐作品音乐会
2015年7月10日丨19：00丨中央音乐学院琴房楼演奏厅
E-MEX室内乐团
长笛：
Evelin Degen
Evelin Degen
单簧管：
Joachim Striepens
Joachim Striepens
小提琴：
Ekkehard Windrich
Ekkehard Windrich
大提琴：
Burkart Zeller
Burkart Zeller
打击乐：
Michael Pattmann
Michael Pattmann
钢琴：
Martin von der Heydt
Martin von der Heydt
关于音乐
是否能在一场音乐会中呈现新音乐丰富多样的风格呢？在不同地域的新声音和作曲理念间游走越长，E-MEX室内乐团就越能清晰地认识到，这样的意图是无法实现的任务。
尽管如此，利用室内乐多样化的实践可能性，将不同的音乐作品进行合理编排，便可呈现出它们之间的相互关联。在这里，音乐的多样性变得触手可及，因为它们不再是孤立的存在，它们既是一首首独立的炫技性室内乐作品、独奏作品或现场电子音乐，同时又具备统一的属性：它们都是坦率的不同表现形式。
因此,今晚的演出并非仅是透过广泛的曲目获得聆听经验，而更能令人感受到这种美学上的坦率如何被国际化地清晰表达。
Claude
Vivier曾师从斯托克豪森。利盖蒂对其在创作中所展现出的原创性及“非凡的声音的想像力”赞赏有加。在他被残忍杀害的前几周，Vivier在一封谈及自己创作动机的信中写到：“我必须不间断地写作，给予人们一种可以彻底终结战争的音乐”。这梦想源自于Vivier的虔诚信仰。四重奏帕拉米拉博/Paramirabo属于作曲家的“城市系列”，曲名来自苏里南首都帕拉马里博（Paramaribo）。
Michel van der
Aa是一位多媒体大师。除常规乐器外，人工合成声音和视听技术在他作品中也居于同等重要的地位。技术手段并非为流于形式的舞台效果服务，而是对音乐想法的探索及阐述。在重燃中，长笛与录音之间形成了一个对话环境：乐器的朗诵与录音将音响材料进行转换，从中产生一个节奏性的炫技性高潮。
1973年Tristan Murail参与成立了“旅程小组（Groupe de
l’Itinéraire）”，该小组致力于将物理的自然声音作为音乐创作范本，并创立了“频谱学派”。建立在纯技术基础上的声响分析如何作为音乐作品时间和音响展开的出发点，并对音乐形态和音乐发展产生直接影响？Murail通过他早期的创作日落的十三种色彩进行了展示。极高音区有着细微变化的泛音列频谱带着精致的音色阴影以及它细微缓慢的变形，通过不间断变化的乐器组合在一个狭窄交错的空间中被展现出来。
在Cort
Lippe为踩镲和电脑而作的音乐中，极富表演性的演奏家与电子音乐之间是一种特殊的双重关系。电脑通过特殊软件将踩镲和金属声以不同音响合成方式进行处理，使其具有了双重性功能。演奏家一面演奏踩镲独奏，一面也以对话的方式踏入了这段关系。他的工作在于，对电脑发出的音响做出相应反应，并将之迅速与自己的演奏进行组合。
John
Cage的“数字作品系列”共40首，均以参与演奏的人数为作品标题，五为其中之一，是作曲家较早的创作。除参演人数外，作曲家对作品编制未提出其它要求，但整个演奏过程均由“时间支架（Time
Brackets)”来控制结构。“时间支架”是一些特定的音响效果，它们被安排了固定的或可变的演奏时长及演奏方式。在《五》中，每一个声部均由五个这样的支架构成。
Karin
Haußmann如火的慢板的创作灵感是从一本菜谱的使用说明中得来的。它要求只能使用三种相互搭配起来非常和谐的基本食材。将这种思维运用在音乐创作过程中，会产生很多有趣的可能性。Haußmann严格遵守这一要求，汇聚一些互不相干的音乐材料开始创作。随着缓慢的烹饪——就像标题所提到的那样，所有配料在运动中成熟，渐渐展开、联结成一个崭新的整体。
中国水墨画是贾国平竹影萧疏的灵感来源，这部作品同时也记录了作曲家对创作危机的战胜过程。1997年，贾国平给了彼时处于创作艰难时期的自己一个任务，用完全理性的结构方式做一个习作，回避自己所固有的创作习惯。《竹影萧疏》是建立在这部习作结构基础上的重新写作。
About the music
Can a single concert even hope to be able to give listenersa sense of
new music's stylistic diversity? The further the E-MEX Ensemble goes down its journey
through the most disparate regions of new sound worlds and novel approaches to
composi-tion,the more it becomeclearthat itis an impossible taskto capturethe astonishing
range ofmusictoday.Butbypairingadiversityof musicalapproaches withtheequallymultifaceted
apprachestotheir realiationindifferentensemble configurations,it ispossble to
createarichtapestryof relationships.Thelistenercanbegin to grasp the fullrange of the
spectrum.It'sno longer isolated piecesjuxtaposed withone another, but rather intimate
virtuoso ensemble pieces,solo performances and ie-electronics combined with the musicians'
wealth of experience that are fused into a coherent whole-all dfferent facets of
afundamental openness to the world of sound. So tonight's programwon'tjust invite the
istenertodelight inhearingawide range of repertoire but also ask them to experience how
this aesthetic openness manifests itself in compositions from around the world.
Claude Vivier was a student of Karlheinz Stockhausen. Gyorgy Ligeti
praised his originality and the"fantastic sonic powers of imagination"that he demonstrated
in his compositions.Justafewweeks beforehis violent andal oo earlydeath,Vivierwrote in
aletter about his basic motivation to write music:"Ihaveto compose non-stopto give people
amusicthat willstop themonceand allfromwaging war"Thiswasawish that was certainly rooted
Vivier's deeplyheld religious faith.The quartet Paramirabo belongs toaseries of
compositionsbyVivier that take theirtites fromthe names of cities-in this case from the
capital of Surinam.
Michelvan der Aaisavirtuoso of multimedia.In his compositions, heis
completelyat home with artificillygenerated sounds or audio-visual techniquesas equal
elements combined withinstrumentalpassages.Technologyisnever
simpyusedtocreateasuperficialbackdrop,butrather alwaysasatool to explore and
developamusicalidea. In Rekindleforflute and soundtrack, a dialogueis established in
whichthe instrumental part and the soundtrack hand off material leading toa rhythmic
accumulation that develops into a virtuosic climax.
In 1973, Tristan Murail was the founder of the Groupe de Iltinéraire,
who advocated that the physical nature of sound should be the model for composition and
went on to found Musique Spectrale, which has been adapted in myriad of ways all over the
world.Murail's early work Treize couleurs du soleil couchan for five instruments
demonstrates how the use of computer-based analysis of sound can serve as the point of
departure for temporal processes and sonic development that can directly influence the
course of anentire composition.The highly nuanced overtone spectrum with the subtlest
timbre variations and its gradual metamorphosis is revealed in a tightly interlocked
interplay of the instruments that sil xhibits a degree temporal variability on the local
level.
Cort Lippe's Music for Hi-Hat& Computer establishes a two-way relationship between the live
performer and an electronic part, which is generated by a computer running a special
software program that combines live sounds from the hi-hat with material derived from
various sound synthesis techniques creating a part that itself hi-hat solo while,on the
other hand, it can actas an equal partnerina dialogue.And so the performer not only hasthe
task of shaping the output fromthe computer with his performance but also needs toreact to
the soundsgenerated bythe computer.
Five byJohn Coge belongs to the40pieces that makeup the Number
Pieces,which are al named according to the number of performersrequired.The piece performed
tonight, Five, is one of the earliest in the series. Except for the number of players, the
composer does not specify any particular instrumentation. The sounds that should be played
are fixed using ‘time brackets’. Time brackets are predetermined sound events, which are
each assigned fixed or variable durations and performance indications. Each part in Five is
made up of five of these time brackets.
In a fuoco lento, Karin Haußmann drew her inspiration from a cookbook
that, above all else, espoused the maxim that cooks limit themselves to three basic
ingredients that have a natural affinity for one another. Transferring this concept to the
compositional process opens up fascinating possibilities. Haußmann took up the challenge
literally and begins with clearly distinct musical elements. Through a process of slow
cooking—as hinted at in the title—the ingredients are set in motion, developed and combined
with one another forming a somewhat new whole.
The principal inspiration for Scattered Shades by Jia Guoping was
classical Chinese ink wash painting, but at the same time it chronicles his struggle
through a creative crisis. During a difficult artistic period in 1997, Jia set himself the
challenge to compose a study that would help him get over his previous compositional
techniques by using a rational system. Scattered Shades expands on this study and retraces
its structure with a new instrumentation.
文/Hans-Joachim Mönnighoff 翻译/ 夏苒
E-MEX室内乐团
E-MEX室内乐团于1999年由六位来自德国鲁尔区及科隆的年轻演奏家共同创立。成立之初，该乐团便以其优秀的演奏和极富创新性的演出曲目设计在当代音乐舞台上迅速获得极高赞誉。乐团核心宗旨为：与新一代年轻的作曲家紧密合作，演出当代音乐作品。迄今为止，该团保留曲目已超过300余首，涵盖不同作品编制。其中包括如Elliott
Carter, Iannis Xenakis, Franco Donatoni, Gerard Grisey, 细川俊夫, Salvatore Sciarrino 及Helmut
Lachenmann等国际著名新音乐作曲家之作。
通过举办系列音乐会，E-MEX室内乐团首演了大量新作品，并经常获邀在欧洲、亚洲以及南美洲、北美洲的诸多音乐节上演出。新生代作曲家如Sven-Ingo
Koch, Elena Mendoza,Valerio Sannicandro, Vassos Nicolaou,Yasuko Yamaguchi, Karin
Hausmann及Gordon
Kampe等都曾将作品题献给该乐团。近年来，E-MEX室内乐团有多张唱片于德国科隆德意志广播电台出版；并在日本、智利、韩国、中国等进行巡演；音乐会现场多次在德国西南广播、西德广播和德意志广播电台中播出。
乐团核心乐器为长笛、单簧管、双簧管、长号、小提琴、中提琴、大提琴、手风琴、钢琴及打击乐；并曾与多位指挥、歌唱家及其它演奏家合作。
E-MEX室内乐团以向民众传播新音乐、提高民众艺术鉴赏力为己任，通过“新音乐在弗柯望博物馆”音乐会系列这一独特的可持续方式进行音乐及艺术推广。该系列音乐会通常与展览相结合，为理解艺术理念提供了另一崭新的视角。音乐会均附带精心设计的导赏环节并注重面向儿童和青少年的专题策划，这些更好地拉近了观众与当代音乐之间的距离。此外，乐团也积极与其他艺术形式如表演、文学、多媒体艺术等合作，丰富并促进了当代音乐舞台的发展。
E-MEX
The E-MEX Ensemble was founded in 1999 by six musicians from Cologne
and the Ruhr in western Germany. Since then the group has rapidly made a name for itself
in the new music scene with its virtuoso performances and innovative programming.
One of the core ideas behind the ensemble is to establish close working relationships
with composers to foster the ideal conditions to realize a composer’s artistic vision.
Over the years the ensemble’s repertoire has grown to encompass more than 300
works running the gamut from small chamber formations to large ensembles. In addition to the
large number of newly commissioned works that E-MEX has premiered,their repertoire includes a
wide selection of modern classics such as works by Elliot
Carter, Iannis Xenakis, Franco Donatoni, Gérard Grisey, Toshio Hosokawa, Salvatore
Sciarrino or Helmut Lachenmann. E-MEX curates its own series of concerts and is
also a regular guest at major festivals and concert halls across Europe and Asia as well
as in North and South America. Composers such as Sven-Ingo Koch, Elena Mendoza,
Valerio Sannicandro, Vassos Nicolaou, Yasuko Yamaguchi, Karin Haußmann and Gordon Kampe have
written pieces especially for E-MEX. Highlights from recent concert
seasons have included a series of CD productions in collaboration with Deutschlandfunk Radio
Cologne, concert tours to Japan, Chile, Korea and China as well as several
concert broadcasts featured on major German radio stations such as SWR, WDR and
DLF.
The core ensemble is made up of flute, clarinet, oboe, trombone,
violin, viola, cello, accordion, piano and percussion. In addition E-MEX regularly collaborates
with a select group of conductors, vocalists and other instrumentalists.
The Ensemble is committed to bringing new music to novel spaces that
provide an environment conducive to a new collaborative understanding of art. E-MEX’s museum
concert
series has developed into a unique format that seeks to make a lasting
contribution to the promotion of the arts and music. The concerts, which often have
a programmatic connection to exhibitions currently on display, open up the possibility
to view art from a new and fresh perspective. Preconcert talks or special programs
for children and young people are an additional catalyst to encourage audiences to
engage with new music. The ensemble is also dedicated to exploring the connections
between music and other art forms such as theater, literature, performance art and
multimedia works, which is becoming an increasingly important current in the contemporary music
scene.
www.e-mex-ensemble.de
