乐听?乐美—优雅室内乐系列：琴谜西非—科拉琴与大提琴的对弹音乐
2015年5月9日 ，乐听•乐美—优雅室内乐系列：琴谜西非—科拉琴与大提琴的对弹音乐在 武汉琴台音乐厅 精彩上演。
基本信息
2015.05.09
武汉琴台音乐厅-室内乐厅
以现场为准
以场馆规定为准
演出详情
西非科拉琴大师巴拉杰·西苏库：曾与科拉琴大师Toumani Diabaté,布鲁斯巨星Taj Mahal,钢琴大师鲁德维科·艾诺迪等合作
法国大提琴家文森·赛加尔：
为不胜枚举的著名艺术家担任伴奏、编曲或制作人，如Cesaria Evora, -M-, Blackalicious, Piers Faccini, Sting, Marianne Faithfull等
科拉琴（Kora）：流传于西非的21弦琴，琴身与鲁特琴（Lute）相似，弦的分布类似竖琴。演奏方法如弗拉门戈吉他般复杂多样。
【乐听·乐美-优雅室内乐系列】
琴谜西非-科拉琴与大提琴的对弹音乐会
大提琴：文森·赛加尔
科拉琴：巴拉杰·西苏库
曲目：室内乐 美丽的小奥斯卡琳 乌德斯提小镇 冈比亚小调 莫莉的故事
玛-玛的足球俱乐部 心随音乐而远 遗憾 未来 献给玛迪大师的歌
19:30, Saturday, May 9, 2015
Vincent Segal, Cello
Ballaké Sissoko, Kora
Program: Chamber Music, Oscarine, Houdesti, Wo yé N' Gnougobine, Histoire de Molly,
Ma-Ma FC, Regret, Halinkata Djoubé, Future, Mako Mady
二重奏给音乐家带来的体验的确非比寻常，因为它所追求的是一对一的理想境界。两位主角的声音在那只叫做"共识"的坩埚里融合冶炼，而"分享"正是两件乐器举止静默间最本原的旨趣。这就不仅要求音乐家具备高超的演奏素质，而且还需要具有他们超凡的聆听能力。在二重奏中，耳朵--这件音乐家最本真的乐器--于是成为一切演奏的所在。
对话的基础在于相互理解、相互倾听。而这组由科拉琴与大提琴的二重奏中，演奏家巴拉杰·西苏库与文森·赛加尔将对话的艺术发展到一个极为精确的水准。他们所录制的《室内乐》这张唱片，可以被视为一张声音档案，纪录了文化融合的大背景之下一次短暂的碰撞。而且，这张专辑的境界也远不止于此。两位音乐家曾是同一厂牌（Label Bleu）下稳固的搭档，在长期合作中相知渐深。几年前，巴拉杰·西苏库萌生一念，想跟赛加尔合作一张专辑。西苏库在亚眠爵士音乐节上看过二重奏组"燃情大提琴"的音乐会，而该重奏组正由文森·赛加尔与希瑞尔·阿泰夫组成。对于合作录音这个主意，二人都从容有加。正如这位马里音乐家所言："从音乐上彼此了解很重要。相当一段时间，只要我去巴黎，就到文森家中碰头。我们还一起合作过几场音乐会。两人的默契就这样一步步建立起来了。我们现在演奏时不用说话，只要一个眼神就足够了，彼此心领神会。"
对于音乐中人性的一面，西苏库和赛加尔二人都非常关注，这也是他们二十多年来潜心修炼的结果。西苏库的弦乐曾与塔吉·马哈尔的吉它以及鲁多维科·艾诺迪的钢琴碰撞出精彩的火花，而赛加尔更是在伴奏、编曲及制作人几个角色中乐此不疲，合作过的艺人包括歌手艾沃拉（Cesaria Evora）、法奇尼（Piers Faccini）、斯汀、玛丽亚·菲斯芙（Marianne Faithfull）、"-M-"以及嘻哈组合Blackalicious等。二人的音乐生涯虽不尽相同，但却都非常重视沟通想法与交流感受。二人都具有多重世俗音乐背景：西苏库出身于西非部族曼丁卡的游吟世家，而赛加尔则受过西方古典音乐的科班训练，二人本可以轻松地在各自既定的模式中享受音乐、安身立命。但他们却把手中乐器所承载的历史、把自身所传承的文化传统一变而为肩上的行囊，与他们的旅程相伴相随，平复他们对新知的渴望。2009年5月，西苏库和赛加尔二人终于决定在马里首都巴马科录制唱片。怀抱简单而闪光的理念，二人再次实践了各自所谨守的原则，即法国人所概括的："音乐的乐趣任你追寻。"
此时所谓音乐的乐趣，正浓缩为两位好友为自己所创造的时空：马里音乐家萨利弗·凯塔（Salif Keita）的牟夫录音室（Moffou Studio）里那间空荡荡的房间，以及三次一挥而就的录音过程，分分秒秒都编织进马里温柔的夜空。二人避开人境的喧嚣，将那些使音乐家偏离艺术的一切可能、连同那些只有收藏家才会感兴趣的所谓风格和门类，都统统驱逐出境。他们要专注于音乐的本质：语言与韵味层层叠叠，心灵的旋律缱绻交织，即兴演奏生发出微妙的潮涌，静默孕育出隐秘的振频。他们二人如此默契，科拉琴和大提琴之间的唱和，非但没有表现得道貌岸然，而且奏出的简直就是同一个声音，仿佛二人缔结了盟誓，心血与乐音相交融，精准而统一的声音清晰得无与伦比。《室内乐》这张唱片带给乐迷的实在是稀有且珍贵：两种感性合而为一，在同一波长上，创造出音乐，自自然然地流淌。
专辑中有不少朋友前来助阵。他们跟西苏库和赛加尔二人展开对话，他们对"和谐"都有着相同的感受，对"流淌"有着相同的感觉。《悔恨》本来是一首庄重的歌曲，最初献给歌者卡德尔·巴里，这里由歌手艾娃·桑格唱来，却仿佛裹上了一层精致的面纱。而《胡德斯蒂》仿佛融汇了这张唱片里一切安静的力量。穆罕默多·卡密索克（西非拨弦琴演奏家）和法斯瑞·迪亚贝特（非洲木琴演奏家）根植于大地音乐，尽管他们在该专辑中分量不多，但却尽脱一切时尚与浮华。另外还有两首曲子，蒂姆巴·卡麦拉将传统的卡里南（一种金属管打击乐器）在火焰大师的科学之光下摆弄得铮然有声。整张唱片都沉浸在一种无限的温润之中，这非但没有减弱、反而更加强化了表达的力度。录制专辑的过程中，文森·赛加尔说他想到了像尼克·德拉科这样的歌曲作者以及像安内特·皮考克那样的钢琴家，这类音乐家的手笔仿佛蕴含着铜版画那样的力量。《室内乐》这张专辑所勾勒出的速写让人心绪难平，却又很自然地印证了他的音乐理念：摒弃浮华，直入音乐那无可抵挡的、最高的真实。
For any musician, playing as a duo is an experience that definitely stands apart. It pursues the ideal of the one-on-one, the context where the voices of the protagonists fuse together inside the crucible of common thought, and where the notion of sharing is placed at the very origins of an instrument's movement. It requires not only exceedingly high quality in the discourse, but also an exceptional listening-quality. Within a duo, the ear-the first authentic instrument of the musician-is where everything is played.
This art of conversation based on understanding, on the attentiveness of one musician towards the other, is developed here by kora player Ballaké Sissoko and cellist Vincent Segal to its highest degree of exactness. Chamber Music is an album that might have remained a mere sound-document that testified to a brief encounter within a mixed-breed cultural context. Fortunately, it's much more than that. Formerly stable-mates at the same label (Label Bleu), the two men began by taking time to forge a close, personal bond of friendship. The idea of working together on an album germinated in Ballaké Sissoko's mind a few years ago; Sissoko had been present at a concert given by Bumcello at the Amiens Jazz Festival, where Vincent Segal had been playing with Cyril Atef, the other half of the explosive Bumcello duo. But there was no need for either to precipitate matters. As the Malian musician says, "It was important to get to know each other musically. For quite some time we got together at Vincent's home whenever I was in Paris, and we also played a few concerts. We built our complicity step by step. Today, when we play, we understand each other without saying a word: one look is enough. Our hearts are together."
This care brought to the human aspect of all music is something that Sissoko and Segal have been cultivating for more than two decades-Sissoko's strings have notably crossed paths with those of Taj Mahal or the pianist Ludovic Einaudi, whilst Segal has enjoyed many roles as an accompanist, arranger or producer with such diverse performers as Cesaria Evora, -M-, Blackalicious, Piers Faccini, Sting or Marianne Faithfull. Their respective careers have shown the importance they attach to communicating thoughts and sensations. The pair came from multi-secular musical backgrounds-the Mandinka griot tradition for Sissoko, the classical school for Segal-and it would have been easy for them to remain locked inside such mapped formats, both in music and in life. But they transformed the historic significance of their instruments and original cultures into objects they could carry with them, luggage with which they could travel and slake their thirst for knowledge. In May 2009, when Sissoko and Segal finally decided to record together in Bamako, they once again applied these principles dictated by a simple, illuminating common ethic, one whose terms the Frenchman describes succinctly as: "You just look for the pleasure of music where you can."
The pleasure of music, here, is condensed into the time-space that the two friends created for themselves: one bare room in Salif Keita's Moffou studio and three recording-sessions without overdubs that were woven inside the protective cocoon of the Mali night. Sheltered from the agitation of mankind inside the heart of the world, Ballaké Sissoko and Vincent Segal chased out of their minds everything that can distance a musician from his art-all the vain considerations of genre and style that only have interest for collectors of labels-the better to concentrate on the essence: harmonious imbrications of language and signatures, and the interlacing of their inner song, to which the subtle waves of improvisation and the secret vibrations of silence contributed additional density. Their complicity is such that the kora and the cello, far from resulting in an overly formal exchange of rejoinders, seem to express themselves here with a single voice: Sissoko et Segal mix their blood and their sounds to conclude a pact that aims to cause a (precisely) unified word to spring forth with incomparable clarity. What the listener hears in Chamber Music is both rare and precious: two sensibilities in unison, on the same wavelength, creating music which, literally, follows naturally.
The same feeling of concord, the same impression of fluidity, inhabits the dialogue between the friends who intervene, friends to whom Sissoko and Segal opened their door. The voice of singer Awa Sangho drapes the solemn song Regret, composed as a tribute to vocalist Kader Barry, in a fine veil. On Houdesti, the long track on which all the quiet strengths composing this album seem to converge, Mahamadou Kamissoko (ngoni) and Fassery Diabaté (balafon), both fleeting but significant presences, conjure out of the earth music that has been torn away from all trends and fashion. On two titles, Demba Camara causes the traditional karignan to crackle with all the science of a master of fire. Yet the entire record bears an imprint of infinite gentleness; it has softness that privileges, rather than modifies, the greatestintensity of expression. In recording this album, Vincent Segal says that musicians like songwriter Nick Drake or pianist Annette Peacock came to mind, both authors of pure outlines that contain the strength of etchings. The vibrating sketches of Chamber Music naturally confirm his vision: stripped of all
superfluous material, they go straight to the heart of the prime, overwhelming truth of music.
武汉琴台音乐厅
最新事件
