署前街少年 赵雷 Lei Zhao

Lang Lang - Dragon Songs [Ltd. Ed. CD + DVD]
FLAC, EAC, LOG & CUE | Full Artwork | Size: 1,12 GB + Recovery Info
Label/Cat#: Deutsche Grammophon 477 6490 | Country/Year: Europe 2006
Genre: Classical | Hoster: Filepost/Filefactory

After several albums of Western classical music, Chinese pianist Lang Lang returns to the music of his native country on Dragon Songs (…) The 63-minute CD is accompanied by a lengthy DVD that includes a 45-minute documentary of Lang's return visit to China for master classes, concerts, and even a little time with his family at "home" (an apartment he says he has slept in twice). There are also video performances of the all of the album's tracks, each one prefaced by introductory remarks by the pianist. Just as "Yellow River Piano Concerto" began the CD, it ends the DVD in a mammoth performance in Guangzhou with four orchestras combined and 100 female piano players, all spread out in a space that looks larger than a football field.

Le groupe Fleuve Jaune (Huang he) est un des seuls ensembles hors de Chine à jouer le grand répertoire. Composé de personnalités fortes, professionnels confirmés, c'est un ensemble à géométrie variable, du solo à l'orchestre, du grave à l'aigu, de l'intime au puissant, à la mesure de l'immense Chine. La musique que joue le groupe Fleuve Jaune est à l'image majestueuse du grand fleuve, riche de multiples affluents, riche d'un terroir fertile, riche d'une tradition qui a su dompter les crues, traversant des contrées tantôt désertiques, tantôt riantes, pour se jeter dans l'océan de la musique universelle. Car telle est l'ambition de ces professionnels en exil: faire vivre une culture dont les racines sont immenses et dont les fleurs s'épanouissent au regard de quiconque a des oreilles pour entendre, assumant et transfigurant l'exotisme.

Fondé en 1984, le groupe Fleuve Jaune a pour vocation de rassembler les musiciens, chanteurs, danseurs et acrobates chinois vivant à Paris, sans distinction de nationalité. En 1986 il accompagne le Voyage en Chine intérieure de Gilberte Tsaï en Avignon. Le compositeur Chen Qigang fait appel à lui pour la musique du film Chine, ma douleur de Dai Shijie. En juin 1989, l'ensemble est au cœur du concert Chine, je n'oublie pas qui rassemble au Zénith, musiciens chinois et français épris de liberté. Un an plus tard, il organise à l'Arche de la Défense une grande fête populaire, dans la tradition de la Chine du nord. Il s'est produit également à Radio France, dans la grande salle de l'Unesco, au festival international des musiques traditionnelles de Rennes, au carnaval des enfants de Bordeaux et au festival de Ris-Orangis.

Continuing their explorations on Silk Road Journeys: When Strangers Meet, Yo-Yo Ma and the Silk Road Ensemble go even deeper into cross-cultural studies on this 2005 soundtrack album. Produced for a 10-part series on Japan's NHK television network, the CD's 15 tracks are arranged in three suites, entitled Enchantment, Origins, and New Beginnings, more reflective of inherent musical affinities than of the way the music was used in the program. The musicians tap into the variously overlapping musical styles of lands stretching from China and India to Iran and Turkey, and the arrangements by Zhao Jiping and Zhao Lin include a mix of instruments from around the world, to add greater color and sonic dimensions. The album's exotic and meditative qualities may attract fans of both international and new age music, though there is perhaps little crossover appeal for Ma's classical devotees.

From the bustling chaos of Beijing to the deserts of Xinjiang, Lost In China celebrates a new generation of artists who, united by their desire to explore and at times confound local traditions, have not previously been heard outside their homeland.

Based on 33 years of scholarship and promotion by the Istituto Nazionale Tostiano and a lifetime of studies on the part of Francesco Sanvitale, this volume lives up to its predecessors in bringing to wider attention the work of a born songsmith, at home in the English and French tongues as well as his native Italian, and one who brought the genre of salon song to a peak of perfection. No one, not even the most dedicated Tosti singers such as Gigli and Caruso, had ever addressed Tostis oeuvre with anything near a comprehensive approach. Yet the chronological approach to his work taken by this project proves that he was certainly not confined within the limited universe of love requited, rejected, desired, misunderstood, suffered or unspoken. The songs in this third volume cover the last decade of the 19th century, by which time Tosti had settled in London, been appointed singing teacher to the royal family and to a professorship at the Royal Academy of Music.