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めじろぐ2008

ダン・ラウリンからのメッセージ(翻訳はこれから!)

Dear audience,

It is a great pleasure for me to be back in Tokyo. More than 10 years ago I had my first performances here, and ever since Japan has been my favourite place to work: the halls are fantastic, the logistics impeccable, the food is the best in the world, and the audience, well, the audience is so focused and so well educated that I can use finer and more refined colours in my playing than elsewhere. This is very inspiring, because the dialogue with the audience is important to me. For this I thank you.

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Tonight’s program is a mix of different styles and expressions. European culture in the past was a mixed affaire, with Italy remaining the source of inspiration and innovation, France representing style and fashion and Germany developing its own philosophy. And then the new voice from the East, with its particular mix of traditional and contemporary: Japan. The music we listen to tonight is a result of this extremely dynamic development in our history.

The “Principio di virtu” is taken from one of the oldest surviving manuscripts with solo instrumental music. The beautifully preserved parchment book used to belong to the Medici family which was famous for its craving for music, sculpture, literature, paintings, and… money. Occasionally, they would ask players to perform with fake angel wings strapped to their shoulders, and maybe this piece was performed like that?

Jacob van Eyck was a blind nobleman known as one of the best bell players of his time. He also used to improvise outside in a garden over the hits of the day on his little recorder. Someone eventually decided to write it down, and the result, “From The Recorder’s Pleasure Garden”, was to become the World’s largest collection of solo wind music. I have put together a little suite with tunes some of you surely have heard before, but maybe there are some surprises anyway…?

Johann Sebastian Bach’s cello suites are good for players of all instruments to practise that particular phrasing and control needed to survive his heavy, melodic lines. This is like yoga for the mind.

Ryohei Hirose has given us recorder players works of unsurpassed beauty and charm. We should consider ourselves extremely lucky that composer of such magnitude has taken the trouble to use such a tiny format as a lonely recorder for his artistry. “Hymn” is a ceremonial piece with strong conflicts between present and past, tradition and modernity put in a classical form with sonata-like features, including an upsetting development part with very strong expressions.

Marin Marais’ “Les folies d’Espagne”ダン・ラウリンからのメッセージ(翻訳はこれから!)_b0136682_15361039.jpg originally is for viola da gamba and basso continuo, but the composer himself suggests many more possible instrumentations on the title page of the printed edition. What you will listen to tonight is my arrangement of his arrangement, with new ordering of the variations, new harmonies and a reduced number of variations; not much remains of the original work, but this is intentional: it is a truly Baroque thought to re-create on the basis of someone else’s original.

Dan Laurin 2008


PROGRAM

14世紀作曲家不詳:イスタンピッタ《美徳のはじまり》
Anon (14th century): Principio di virtu

ヤーコブ・ファン・エイク
Jacob van Eyck (1589-1657):
プレリューディウム Preludium
ファンタジアとエコー Fantasia en echo
Geswinde bode van de min
イギリスのナイチンゲール Engels nachtegaeltje
詩篇9番 Psalm 9
人は夜なにをする Wat zalmen op den avond doen

J.S.バッハ:無伴奏チェロ組曲第二番二短調より
J.S. Bach (1685-1750): From cello suite in D minor:
プレリュード Preludium
アルマンド Allemande

廣瀬量平:讃歌(ヒム)
Ryohei Hirose: (1930-) Hymn

マラン・マレ
Marin Marais (1656-1728)
スペインのラ・フォリア
Les folies d’Espagne (transcrbed by Dan Laurin)
by mejirog08 | 2008-04-24 15:36 | 音楽を愉しむ
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