色彩x音樂(lè)Jenny Q 柴 鋼琴音樂(lè)會(huì)
2021/11/18 14:20:18 www.chefboxsir.cn 點(diǎn)擊:551次
時(shí)間:2022.01.01 周六 10:30
場(chǎng)館:上海市 | 上海商城劇院
《聯(lián)覺(jué)游樂(lè)場(chǎng)》-一場(chǎng)色彩與音樂(lè)的碰撞,別開(kāi)生面的體驗(yàn)!
Jaroslaw Kapuscinski Juicy (12) (AI 跨媒體)
雅羅斯瓦夫·卡普辛斯基 《Juicy》
Andy Akiho Into the Woods (9) (加料鋼琴+多媒體)
安迪· 秋保 《魔法黑森林》
Annie Gosfield Brooklyn, Oct 5, 1941 (5) (棒球)
安妮•高斯菲爾德 《布魯克林1941年10月5日》
Intermission—
World premiere Jacob Charles (11) (團(tuán))
雅各布• 查爾斯《繽紛》世界首演
Steve Reich Clapping Music (5)
史蒂芬·邁克爾 《拍手音樂(lè)》
Andy Akiho Synesthesia Suite (團(tuán))
安迪· 秋保 《聯(lián)覺(jué)作品集》
Murasaki purple (7)
《紫》
Orange (5)
《橙》
Beige (8)
《肌色》
Red (8)
《紅》
柴瓊妍博
柴瓊妍畢業(yè)于上海音樂(lè)學(xué)院,柯蒂斯音樂(lè)學(xué)院,曼哈頓音樂(lè)學(xué)院,獲得曼哈頓音樂(lè)學(xué)院授予的博士學(xué)位。在德國(guó)跟隨當(dāng)代鋼琴大師梅西安專(zhuān)家皮艾爾-勞倫特·艾瑪專(zhuān)攻現(xiàn)代鋼琴。先后師從Pierre-LaurentAimard,Seymour Lipkin,Solomon Mikowsky,Anthony de Mare,Marilyn Noken等眾多名家。加州大學(xué)伯克利分校(University of California Berkeley)的鋼琴教授。
“Jenny Q Chai是位卓越的鋼琴家,有著無(wú)與倫比的想象力”——《巴利亞多利德日?qǐng)?bào)》柴瓊妍一個(gè)擁有奇特視角的藝術(shù)家,以她的驚人的音樂(lè)天賦照亮了這個(gè)世界與音樂(lè)的鏈接。結(jié)合最鋒利的意圖,柴瓊妍將她的天賦與個(gè)人魅力融合起來(lái),致力于她最新的實(shí)時(shí)電子音樂(lè)、人工智能、環(huán)境研究,建立分層的多媒體程序和項(xiàng)目,探索科學(xué)、自然和藝術(shù)的元素。在國(guó)內(nèi)外頗受喜愛(ài),《紐約客》(The New Yorker)將柴形容為“一位才華橫溢的鋼琴家,與她深厚的音樂(lè)才能相匹配。
“一個(gè)認(rèn)真的鋼琴家,對(duì)新音樂(lè)有著誠(chéng)摯的熱情。”——鋼琴家皮艾爾-勞倫特·艾瑪
“她的音樂(lè)豐富多彩,就像有無(wú)數(shù)個(gè)小精靈蘊(yùn)藏其中,時(shí)不時(shí)會(huì)自己跑出來(lái)”——安東尼·德·麥爾
“她作為一個(gè)演奏家,以出色的鋼琴技巧和音樂(lè)理解力專(zhuān)注于演繹最近一百年,尤其是最近三十年來(lái)的新音樂(lè)作品,令人印象至深” ——作曲家尼爾斯·維格朗
“她用層次清晰的聲音呈現(xiàn)了一幅色彩斑斕的音樂(lè)圖畫(huà)”——作曲家陳怡
是大家對(duì)她的評(píng)價(jià)。
柴博士游走于美國(guó)和中國(guó)之間,對(duì)于新音樂(lè)有自己獨(dú)到的見(jiàn)解。特別是對(duì)舒曼、 斯卡拉蒂、 貝多芬、 巴赫、 德彪西和拉威爾的作品。同時(shí)對(duì)20世紀(jì)當(dāng)代大師 凱奇, 梅西安, 庫(kù)爾塔克和莉蓋蒂的作品也演繹地很出色。同許多當(dāng)代的作曲家Marco Stroppa, Jaroslaw Kapuscinski, György Kurtág庫(kù)爾塔克 等等,廣泛合作、友誼深厚。除此之外,柴博士還用她靈巧且詩(shī)意的觸鍵把這些偉大的作曲家編織成一幅巨大且清晰的音樂(lè)掛毯。作為加料鋼琴發(fā)明家約翰凱奇的第二代直系弟子,柴博士是第一位把加料鋼琴帶入中國(guó)的鋼琴家,在2012年與波蘭鋼琴家彼得托馬斯在上海音樂(lè)廳第一次呈現(xiàn)。
柴博士這套曲目所運(yùn)用的人工智能技術(shù):
這項(xiàng)工作的一個(gè)重要方面是鋼琴家控制視頻的進(jìn)程和效果,執(zhí)行自然自發(fā)的書(shū)法畫(huà)的能力。對(duì)我來(lái)說(shuō),這幅作品的美在于看到的是正在被描繪的書(shū)法,而不僅僅是一幅完成的畫(huà)。線條隨著厚度和形狀的變化而逐漸出現(xiàn),其戲劇性的節(jié)奏不亞于舞蹈。鋼琴演奏的音樂(lè)與形象有著嚴(yán)格的節(jié)奏感和表現(xiàn)力,因此,要演奏這種自然自由的視聽(tīng)舞蹈,唯一的方法就是把電腦變成一個(gè)智慧的合作者。計(jì)算機(jī)需要能夠匹配音樂(lè)家的不可思議的能力,傾聽(tīng),預(yù)測(cè)對(duì)方的節(jié)奏,并在完美的同步執(zhí)行。鋼琴是一種特別難以機(jī)聽(tīng)的樂(lè)器,因?yàn)殇撉俾曇舻拇_切聲學(xué)特征隨著踏板的響度、復(fù)調(diào)和和聲效而發(fā)生了顯著的變化。在“子期書(shū)法”中,計(jì)算機(jī)運(yùn)行著一個(gè)名為Antescofo的子程序,它使用人工智能算法在10-20毫秒內(nèi)識(shí)別鋼琴演奏的每一個(gè)音符,預(yù)測(cè)她的意圖,不斷調(diào)整預(yù)測(cè),并觸發(fā)視頻幀以配合音樂(lè)動(dòng)作的不斷波動(dòng)的節(jié)奏。這種智能系統(tǒng)也是“容錯(cuò)的”,這意味著由于人工智能,它可以識(shí)別和忽略意外錯(cuò)誤,并在繼續(xù)合作執(zhí)行的同時(shí)保持對(duì)預(yù)期目標(biāo)的關(guān)注。這幅作品展示了人工智能如何使音樂(lè)家能夠成為一個(gè)視聽(tīng)表演家——鋼琴家可以現(xiàn)場(chǎng)繪畫(huà)書(shū)法。
Total: 70 min.
Program Notes:
JUICY (for piano and audiovisual projection, 2010, 10 min, animation assistance: John Edmark) by Jaroslaw Kapuscinski
Fruits and music have a lot in common. Both can be vividly colorful and structurally geometric but even in most formal settings they are never purely abstract. Music is anchored in the body and its emotions, while fruit evokes associations of taste and smell. Their expression is intense yet very direct and appears effortless. Even the simplest melodies or commonest of berries can be intense and sensuous. The six-movement suite fuses live piano music with images of fruits that were produced using stop-motion technique on a traditional animation stand.
The rhythm of video editing and overall flow of imagery is controlled by the pianist using AI enabled program that listens and anticipates her pacing.
Steven Sondheim Into the Woods arrangement by Andy Akiho with paintings by
Camryn Connolly
A fairytale told by prepared piano.
A prepared piano is a piano that has had its sounds temporarily altered by placing bolts, screws, mutes, rubber erasers, and/or other objects on or between the strings. Its invention is usually traced to John Cage’s dance music for Bacchanale (c. 1938), created without room for a percussion orchestra. Typical of Cage’s practice as summed up in the Sonatas and Interludes (1946–48) is that each key of the piano has its own characteristic timbre, and that the original pitch of the string will not necessarily be recognizable. Further variety is available with use of the una corda pedal.
Jenny Q Chai being one of the most well-known contemporary pianists internationally, and a student of John Cage’s students, introduced prepared piano to China for the very first time, together with pianist Piotr Tomasz in 2012.
Composer’s note on arranging this piece. Andy Akiho: “the first time i listened to it i loved the concept of Into the Woods—being lost in and confused by the woods, and the consistent and driving rhythms of the opening prologue. i was also intrigued by Sondheim’s innovative and witty use of spoken narrative against his catchy melodies, particularly during each character’s introduction. My goal in re-imagining this pro- logue was to orchestrate each character’s personality with the use of prepared piano—for example, dimes on the strings for the cow scenes, poster tack on the strings for door knocks and narrated phrases, and credit card string-clusters for the wicked witch. My goal was to portray each char- actor’s story and mystical journey using exotic piano timbres in place of text.”
Dr. Chai came across Camryn Connolly’s paintings when she submitted her painting for global warming painting contest accompanying Dr. Chai’s global warming program Acqua Alta, her painting was a prize winner. Among many paintings, Dr. Chai was especially impressed by Connolly’s works and decided to pair her paintings with Into the Woods, to describe the state of our world and our current reactions and situations regarding our environment.
安妮•高斯菲爾德 《布魯克林1941年10月5日》
一首用棒球演奏的鋼琴曲。再次呈現(xiàn)了布魯克林1941年10月5日的那場(chǎng)歷史性的棒球比賽。
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