シルク・バロック

CDフォーマットで再発売!
バロック音楽と中国笙の見事な融合!
オランダ・バロックとウー・ウェイ、奇跡のコラボレーション!!

レイチェル・ポッジャーなど世界的なアーティストと共演をしてきたオランダ古楽界の精鋭集団オランダ・バロック(元オランダ・バロック協会)と中国笙の第一人者ウー・ウェイの奇跡のコラボレーション・アルバム。

J.S.バッハ、ヴィヴァルディ、テレマン、ラモーなどのバロック時代を代表する作曲家の音楽と中国伝統音楽を見事に融合させた「シルク・バロック」がCDフォーマットで再発売されます!

中国笙は37本の竹管からなる笙(日本の雅楽などで用いられる笙は17本の竹管)で、中国独自の響きを携えます。演奏のウー・ウェイは1970年中国生まれ。上海音楽院で学んだ後ベルリン芸術大学に留学。ベルリンでは東アジアの楽器と西洋楽器との混合アンサンブル"アジアン・アート・アンサンブル"に創設メンバーとして参加し世界各国の作曲家への委嘱と初演を行ってきました。ソリストとして活躍する一方、2013年からは上海音楽院の教授として後進の育成にあたり、中国伝統音楽はもちろんのこと現代音楽、即興などの指導にも力を注いでおります。(日本語帯はつきません。)
キングインターナショナル

This fusion of Baroque chamber orchestra and Chinese instrumentation -- not only the sheng, but also erhu and bawu -- is something other than just blank pastiche. It does not reproduce a historical setting, but it might have. For one thing, Western and Chinese musicians are known to have interacted in the 18th century. One Western player, known as Dede the European, even earned fame at the Turkish sultan's court. The sheng, in fact, was introduced to Russia around 1770 and was likely the parent of the accordion, the harmonica, and the other members of the free reed instrument family. Thus Silk Baroque, which combines the sheng and the Holland Baroque ensemble in various ways, has a nice feeling of how musicians might have felt their way in encountering unfamiliar music. Another point is that Dutch arrangers Judith and Tineke Steenbrink have placed the Chinese sounds in the context of a wider experimentation with exotic sounds in music of the 18th century. Telemann, who was a pioneer in this regard, and "Melante," the murky alter ego of Telemann, are present with a polonois that in Judith Steenbrink's arrangement becomes a Polonois Chinois, and other experimental composers of the day (Rameau and Jean-Fery Rebel) are also prominent. The whole project sprang from a chance meeting between sheng player Wu Wei and the Steenbrinks, and it has a pleasantly organic feeling with of exploring various solutions to the problem of combining Chinese and Western music. Among these solutions are the use of Western pentatonic melodies, the use of the sheng as a kind of concerto soloists, and the use of the Chinese instruments as a sort of sonic wash, which can be quite haunting. There are also solo works for Wu Wei drawing on traditional Chinese music. This may appeal most to listeners specifically interested in the idea of musical fusion, but it has a delightfully offbeat quality that's listenable for anyone.