Helene.Grimaud.-.[Water].专辑.(Flac).rar 447.34MB



◎Bonus Track : Water Reflections (葛莉茉口白解说)

◎葛莉茉台湾首演钢琴独奏会 05/10 主要演奏曲目


2014年年底,葛莉茉与苏格兰艺术家道格拉斯‧戈登在纽约的艺文中心「公园大道军械库」合作了一场别出心裁的演出:tears become…streams become…以空间、视觉(包括灯光与舞台装置艺术)与听觉的戏剧性结合,来探讨「水」这个主题。除了河流、湖泊、海洋、雪花和雨滴这些让人第一时间会想到的「水」,专辑也试著以现代的观点来看「水」:穿插著英国作曲家、制作人索内以水的相变为题的创作,也把古典音乐中描述「水」的经典之作,像是贝里欧《水钢琴》、武满彻《雨树素描II》、佛瑞《第五号船歌》、拉威尔《水之嬉戏》、李斯特《艾斯特庄园水的嬉戏》、德布西《沉没的教堂》串连在一起。


商品条码 : 0028947934264

商品编号 : 4793426

演奏者 : 葛莉茉 Helene Grimaud - 查看所有专辑

指挥家 :

乐团 :

作曲家 :

专辑名称 : 水漾音乐 (Digi-Pack)

Water (Digi-Pack)

音乐类型 : 古典音乐 [CD 独奏曲]

发行公司/日期 : 环球 2016/2/19

制作公司 : DG

内含片数 : 1


编号 曲名

1. 贝里欧:水钢琴

2. 索内:水的相变 I

3. 武满彻:雨树素描II

4. 索内:水的相变 II

5. 佛瑞:第五号船歌,作品66

6. 索内:水的相变 III

7. 拉威尔:水之嬉戏

8. 索内:水的相变 IV

9. 阿尔班尼士:阿尔梅里亚(选自《伊贝利亚》组曲)

10. 索内:水的相变 V

11. 李斯特:艾斯特庄园水的嬉戏

12. 索内:水的相变 VI

13. 杨纳杰克:行板(选自《在雾中》)

14. 索内:水的相变 VII

15. 德布西:沉没的教堂

水漾音乐 (Digipak)

Water (Digi-Pack)

作者 / 葛莉苿 Helene Grimaud

出版社 / 环球国际唱片股份有限公司

出版日期 / 2016/02/19

商品语言 / 无

「法国音乐艺术节」水之礼讚:伊莲‧葛莉茉钢琴独奏会 Hélène Grimaud Piano Recital: Water Reflection

时间:2016/05/10 - 2016/05/10

美丽的外貌、优雅的气质、冷洌深刻的琴音、传奇的人生历程(过动症、强迫症患者)-古典乐坛最明亮动人的森林系钢琴巨星、《野性的变奏》作者:依莲.葛莉茉 台湾首演钢琴独奏会:「水之礼讚」|

youtube拥有百万点阅率的法国钢琴家葛莉茉(Helene Grimaud),堪称当今最受瞩目的钢琴家,拥有美丽迷人的外貌、优雅知性的气质,不仅是少数受邀为精品代言、为VOGUE担任model的音乐家,精湛的琴声更让葛莉茉成为乐坛、影坛争相邀请演出的巨星,让她与许多好莱坞杰出演员成为挚友,所到之处更是镁光灯追逐的焦点,而葛莉茉却从未丧失音乐家的气质与艺术性,2004年出版的自传畅销书更让她成为家喻户晓的知名作家。


小学时,葛莉茉在听课时总是无法安静地坐在椅子上,还会不停举手发问,让老师同学十分困扰。书桌两旁摆的笔支数一定要一样、衣橱里的衣服一定要照颜色、款式、size、材料分门别类折迭、完美地摆好,葛莉茉因此被同学嘲笑、疏远,度过一段非常孤立的日子,而这些被称为「怪胎」的特质却在葛莉茉开始学琴之后,造就她成为一位钢琴巨星 。

此外,葛莉茉拥有罕见的感官能力─知觉相连症( synaesthesia)。她的五感能够将感觉互相串连、彼此传递,并产生一般人没有的感受,例如弹奏钢琴时,葛莉茉的眼前会出现许多不同色彩。「弹奏巴赫平均律时,我看到红色、橘色,弹贝多芬《暴风雨》奏鸣曲我会看到黑色和蓝色,c小调的音乐对我来说则是黑色的。」

凭藉著天生比常人更多的专注力、音感及感官能力,葛莉茉接触钢琴之后显现出天才般学习及演奏能力,十一岁就进入艾克斯音乐学院学习,十三岁获巴黎音乐学院破格录取。 学琴的初期也受到钢琴家巴伦波因、佛莱雪的讚誉,开啟了她不凡的钢琴家之路。



演出曲目 |「水之礼讚」











Water Reflections: an immersive recital from Hélène Grimaud




By Mark Pullinger, 17 May 2015

Left to our own devices, audience members at the Barbican could have suggested any number of works to fit into Hélène Grimaud’s aquatic-themed recital. In an absorbing programme note, the French pianist explained that her selection wasn’t meant to be exhaustive, hence the absence of some obvious candidates. Nevertheless, the recital programme had lost some Liszt, Debussy and Ravel (Ondine) since its initial announcement, replaced with Brahms’ Second Sonata. Puzzlement indeed, yet last night’s performance was often as astonishing as the programme was surprising.

Hélène Grimaud © Mat Hennek | DG

Hélène Grimaud

© Mat Hennek | DG

With just a spotlight on the Steinway to break the Stygian gloom, Grimaud performed her mesmerising selection of eight “Water Reflections” in a continuous sequence, unbroken (almost) by applause. Rarely have I seen a more carefully placed first note – a pianississimo D flat to open Berio’s Wasserklavier – after Grimaud had calmly settled herself and waited for absolute silence in the hall before commencing. At the end of each work, the sustain pedal (masked by her flared trousers) was often employed. Her hands would remain in position on the keyboard as the final notes decayed, before shifting into place for the next, clearly signalling her desire to link the eight works. Grimaud, our musical naiad, often seemed to be in her own world, swept up in the music, occasionally leaning back, glancing to the heavens. At the end of Debussy’s La cathédrale engloutie, the final number, it seemed cruel to break the spell and draw her back into the real world.

What surprised most in Grimaud’s “Water Reflections” was the sheer variety of playing. This wasn’t 45 minutes of demisemiquavers quietly trickling up and down the keyboard, but an intelligently balanced selection, where the sparseness of Wasserklavier and Takemitsu’s Rain Tree Sketch II was followed by a boisterous gondola ride courtesy of a Fauré barcarolle that was anything but serene until its tender final bars. Grimaud’s approach to Albéniz’s Almería had plenty of left-hand steel, while her Janáček flowed. The trio of more obvious candidates left the greatest impression on my memory. Her Liszt glistened and glittered as I sat mesmerised by rivulets and tremolos, while Ravel’s Jeux d’eau, inspired by Liszt, bristled with exuberant life, Grimaud’s left hand bouncing over the right. Her playing of La cathédrale engloutie verged on the epic – big, muscular playing, sonorous chimes engulfing the hall as much as the sea engulfs the legendary cathedral of Ys. I simply didn’t want it to end.

Grimaud has long been a champion of Brahms and although the link to the watery theme was tenuous at best – “the musical testament of Zeus, lord of the sky, the rain god, his weapon a thunderbolt” – the performance of his Piano Sonata no. 2 in F sharp minor was staggering in its tempestuous bravura. Here was Brahms the young lion, just 19 years old, launching himself upon the world with a work which is positively Lisztian. Indeed, the young composer had played it through for Liszt, although it had to wait until 1882 for its first public performance. Grimaud tore into the score with wild abandon in a monumental reading, digging into Brahms’ thick chords with robust vigour. Even the calm Andante had rigorous inner tension, erupting in a thunderous scherzo. Her left wrist raised higher than her right, the finale was a study in fierce agitation.

Wonderful as the Brahms was, I could happily have remained submerged in the watery repertoire all evening. Grimaud must have read my mind. Almost shyly accepting her ovation, she offered first a Debussy Étude, all rippling arpeggios, followed by a shimmering Rachmaninov Etude-tableau, before ending with more Brahms. Perhaps Johannes was intended to be a fish out of water…

Hélène Grimaud's "Water" Expands Language of Classical Piano Recital

01/15/2016 12:34 pm ET | Updated Jan 15, 2016

Alan Elsner

Author, 'Gates of Injustice: The Crisis in America’s Prisons'

In recent years, there have been valiant attempts to revive the tired format of the classical piano recital. You know, the one where the audience sits in reverent hush while soloists, clad in evening dress, display how fast their fingers can move up and down the keyboard and how loud they can play.

In recent New York events, both Russian-German pianist Igor Levin and established virtuoso Evgeny Kissin have tried to present works, both known and unknown, in interesting and innovative ways. Levin played the Bach Goldberg Variations after asking the audience to meditate in silence for half an hour while his automated platform glided to center stage. Kissin mixed accounts of little-known works by 20th century Jewish composers with his own declamations of Yiddish poetry.

Add to the mix French-born pianist Hélène Grimaud whose new album, "Water" to be issued Feb. 5 by Deutsche Grammaphon, draws on a recital she gave at New York's Park Avenue Armory in December 2014 (the same venue as that chosen by Levin).

In that event, in which she collaborated with artist Douglas Gordon, Grimaud presented a collection of works, mostly late 19th and early 20th century, connected to the theme of water. The hall was slowly transformed as she played by flooding its vast floor to create what Gordon described as an endless "field of water" completely surrounding the piano with Grimaud at its center.

In this album, we do not have the benefit of that visual and sensory experience and must fall back on the music of nine composers, linked by "transitions" - short bursts of music or sound provided by album producer and composer Nitin Sawney. These bridges or transitions draw on various musical cultures and traditions. I don't know that they add much - but they do somehow wield the disparate pieces together.

Grimaud seems tired of just playing music and now aims much higher. The goal of this collection, we're told, is to use the music to "highlight humanity's dependence on our planet's most precious resource." It's a noble goal - but I didn't quite get how the late Romanticism of Faure and Albeniz, the "impressionism" of Ravel and Debussy and the evocative sonic language of Janacek, while all lovely in their own right, actually achieve that.

I do welcome any attempt to use music for universal purposes and to shake up tired old classical music tropes. Grimaud, a committed environmentalist who has devoted much energy to a Wolf Conservation Center she helped found in upstate New York, provides her own program notes in which she speaks of water as "a molecule and as a metaphor ... an irresistible force both constant and ever-changing." I'll leave to the individual listener and reader to judge how much this adds to our understanding of the music. But the album is indeed enjoyable and delightful due to Grimaud's committed and energetic performances.

Some of these pieces, notably Ravel's Jeux d'eau and Liszt's Les Jeaux d'eau a la Villa D'Este, are familiar. They are often portrayed as descriptions of graceful fountains, and opportunities for the performer to display a light, virtuosic touch. Grimaud doesn't seem to view them that way. True to the album's theme, they are in these performances evocations of water as a far more powerful force, especially when aided by gravity. The Ravel is played with steely fingers. The cascading arpeggios are still there, of course, every note in its place, but not played to create blurry colors as much as to portray water shooting up and thundering, or even thudding down.The fountain is of course an attempt to tame water, channeling its play, turning it into a spectacle for human enjoyment. Grimaud's fountains are not tamed; they're unleashed.

Grimaud is generous and expansive with her metaphors in her commentary - but her way with words is far more vague than her way with music. She writes that the Liszt "embraces water's transformative properties, from Epicurean artifice to redemptive power" -- whatever that may mean. I listen to the music and I hear a depiction of the fountains at Tivoli, just north of Rome, each rising and falling in its own way and of the emotions they inspired in the composer. It's a glorious composition -- but why make it more than it is by freighting it with Epicurean artifice?

I wish I had been able to attend the event at the New York Armory, when I might have better understood some of the more metaphysical and mystical themes stated by Grimaud. At the end of the day, the music must still speak for itself and the album stands and falls on the quality of the playing. But I still recommend this collection as the latest utterance of one of our most interesting and original classical artists.


01. 6 Encores: 3. Wasserklavier (Live) Hélène Grimaud 2:10

02. Water - Transition 1 - Nitin Sawhney 1:17

03. Rain Tree Sketch II (Live) Hélène Grimaud 5:25

04. Water - Transition 2 Nitin Sawhney 1:41

05. Barcarolle No. 5 in F-Sharp Minor, Op. 66 (Live) Hélène Grimaud 6:38

06. Water - Transition 3 Nitin Sawhney 1:33

07. Jeux d'eau, M. 30 (Live) Hélène Grimaud 5:10

08. Water - Transition 4 Nitin Sawhney 1:27

09. Iberia / Book 2: 5. Almeria (Live) Hélène Grimaud 10:06

10. Water - Transition 5 Nitin Sawhney 0:55

11. Années de pèlerinage / 3ème année, S. 163: 4. Les jeux d'eau à la Villa d'Este (Live) Hélène Grimaud 7:38

12. Water - Transition 6 Nitin Sawhney 1:33

13. In The Mists: 1. Andante (Live) Hélène Grimaud 4:32

14. Water - Transition 7 Nitin Sawhney 1:15

15. Préludes / Book 1, L. 117: 10. La cathédrale engloutie (Live) Hélène Grimaud 6:03