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发表于 2007-7-4 13:37:55| 字数 6,844| - 中国–广东–中山 电信
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这个老头子俺也是非常稀饭滴
英国现代音乐大师麦克·尼曼（Michael Nyman）在乐曲创作上的实验与思考性格让他在將传統乐风予以现代化之际，也架构出缜密的思维，鲜活了古典音乐与现代音乐的刻板听觉，创造了一种依存于视觉与听觉之间的新感觉。
尼曼创作触角遍布歌剧、管弦交响乐、弦乐四重奏、无乐器伴奏清唱曲及舞蹈、时装走秀、电玩游戏各领域，76－91年间与导演彼得格林纳威合作的11部电影音乐创作与92年的《钢琴课》，让更多的人经由影像传动领到尼曼的惊人音乐才气，99年还將音乐与伦敦攝影历史学家David King的画面影像作品融合，2000年5月6－7日曾訪华作现场演奏，同年秋季更推出首出音乐剧创作【Facing Goya】。
麦克尼曼（Michael nyman），我第一次接触到他的音乐是在电影“钢琴师和他的情人”；那种轻轻柔柔的音乐，让我感觉到前所未有！音乐和我们常接触的美国好莱坞式的配乐，就是不一样！
如果拿咖啡来做比较，好莱坞电影音乐就像美式传统咖啡，比较强烈；反过来，尼曼的音乐则是像加上了浓浓奶油的花式咖啡！
＜关於“麦克尼曼（Michael nyman）”＞
英国现代音乐大师麦可尼曼（Michael Nyman）在乐曲创作上的实验与思考性格让他在将传统乐风予以现代化之际，也架构出缜密的思维，鲜活了古典音乐与现代音乐的刻板听觉，创造了一种依存於视觉与听觉之间的新感觉。
尼曼创作触角遍布歌剧、管弦交响乐、弦乐四重奏、无乐器伴奏清唱曲及舞蹈、时装走秀、电玩游戏各领域，76-91年间与导演彼得格林纳威合作的11部电影音乐创作跟92年的【钢琴师和她的情人】，让更多的人经由影像传动领略到尼曼的惊人音乐才气，99年还将音乐与伦敦摄影历史学家David King的书面影像作品融合，2000年5月6-7日曾访华作现场演奏，同年秋季更推出首出音乐剧创作【Facing Goya】。
＜钢琴师与她的情人钢琴协奏曲专辑＞
这张专辑是将电影钢琴师和她的情人中的音乐片段，重新整理成协奏曲的模式演奏出来；专辑中收录了一首“蜂舞之所在（为萨克斯风独奏与管弦乐团）
Where the Bee Dances (For Saxophone And Orchestra)”。
利用萨克斯风及成熟的演奏技巧，把蜜蜂的一举一动都给表现出来！大家仔细听就会发现，尼曼的音乐其实变化非常的微小；所以，让人感觉到很轻柔的模样。
＜绘声绘影?麦克尼曼音乐精选集＞
2001年岁末汇整的双CD精选辑，涵盖麦可尼曼近代的影像音乐纪实，从琴音如行云流水般优美的【钢琴师和她的情人】，到阴森悲恸气压强烈笼罩的【厨师、大盗、他的妻子、她的情人】，情绪音域四处漫游，兼顾创意性与精致格调，放纵听觉的趣味与火花，包括为格林纳威的【绘图师的合约】（82）、【淹死老公】（88）、【魔法师的宝典】（91）等片子跟雷夫范恩斯／茱莉安摩尔主演的【爱情的尽头】（99）、茱丽叶碧诺许主演的【奇异果梦游仙境】（99）、伊森霍克与坞玛舒曼合演的【千钧一发】（97）等片，都是值得喜欢尼曼的人来收藏的音乐！
＜奇异果梦游仙境＞
奇异果梦游仙境是一部影展的电影，场景是伦敦南区，时序是周末
镜头对准一家三代的生命轨道
交错而独立，我们看见－－－－
父母在爱情失色的婚姻中孤立无援，因和儿子戴伦失去联络感到惊慌；
茉莉随时可能生产，面对即将成为母亲的焦虑与喜悦；黛比有一个九岁的儿子杰克，却经常在夜晚的城市流连忘返；娜蒂雅一人独居，汲汲寻找对象中，现实随时不警的强烈撞击，然而，他们都在生活中找寻爱与满足。
尼曼在配乐中，采用了小型管弦乐的编制∶除了钢琴、小号、长号、低音号及低音吉他之外，就大都是木管乐器像∶竖笛、高音萨克斯风、次中音萨克斯风、巴里冬萨克斯风（超级低音）及长笛等可以演奏出非常轻柔的音色的乐器。
整张音乐的风格，就像一个室内乐团，演奏的像一个女孩在漫舞，非常适合在咖啡厅或睡觉时播放。
＜结论＞
麦克尼曼的音乐，被称做“微妙音乐”；因为，音乐都在一点一滴的改变，就像女人的心一样！今天为大家介绍尼曼的音乐到这里．．希望奶会喜欢！
Celebrated for his modular, repetitive style, minimalist composer Michael Nyman was among experimental music's most high-profile proponents, best known in connection with his film scores for director Peter Greenaway. Born in London on March 23, 1944, he studied at the Royal Academy of Music and King's College, London, under communist composer Alan Bush and Thurston Dart, a musicologist specializing in the English Baroque. Under Dart's tutelage, Nyman was introduced to 16th- and 17th-century English rounds and canons, their repetitive, contrapuntal lines highly influencing his own later work; Dart also encouraged him to travel to Romania in the interest of seeking out the country's native folk music traditions. Upon graduating during the mid-'60s, Nyman found himself disconnected from both the pop music of the times and the school of modern composition heralded by Stockhausen; as a result, from 1964 to 1976, he worked not as a composer but as a music critic, writing for publications including The Listener, New Statesman, and The Spectator. In a review of British composer Cornelius Cardew, he first introduced the word "minimalism" as a means of musical description.
During this same period, Nyman did continue performing, appearing with artists ranging from the Scratch Orchestra and Portsmouth Sinfonia to Steve Reich and the Flying Lizards. In 1974, he wrote the influential book Experimental Music — Cage and Beyond, an exploration of the influence of John Cage on a generation of composers and performers. Perhaps its most profound impact was on Nyman himself, who through writing the book seemed to discover his own muse; in 1976 he accepted an invitation from Harrison Birtwistle, Director of Music at the National Theatre, to arrange a number of 18th-century Venetian popular songs for a production of Goldoni's Il Campiello. Nyman's arrangements consisted of medieval instruments — rebecs, sackbuts and shawms, bass drums, soprano saxophones, and the like — designed for maximum loudness to produce a distinctive instrumental color; when the production ended, he began composing original music merely to keep the same group of musicians together. Originally an acoustic unit, when rechristened the Michael Nyman Band in the early '80s, amplification became essential to their aesthetic.
Nyman's first major success came in 1982 with the score to the Greenaway film The Draughtsman's Contract; his subsequent collaborations with Greenaway on pictures including 1988's Drowning By Numbers, 1989's The Cook, the Thief, His Wife and Her Lover, and 1991's Prospero's Books remain among his most high-profile works, their notoriety coming at the risk of overshadowing his forays into opera, chamber music, vocal music, and dance scores. The signatures of Nyman's work include not only his use of propulsive repetition, but also a palette of idiosyncratic instrumental touches — thumping keyboards, "rude" bass clarinets, and baritone saxophones, and extreme high and low octave doublings. Mozart was a central influence in much of his work, including 1976's In Re Don Giovanni and 1983's I'll Stake My Cremona to a Jew's Trump; Schumann, meanwhile, was the major inspiration behind the acclaimed 1986 chamber opera The Man Who Mistook His Wife for a Hat, while Bartok shades 1988's String Quartet No. 2, commissioned for the Indian dancer and choreographer Shobana Jeyasingh.
In 1990, Nyman composed Six Celan Songs, a work based on the poems of Paul Celan, for the German cabaret singer Ute Lemper, with whom he first worked on the score for Prospero's Books. His most emotional compositions to date, they served as the clear impetus for his score to Jane Campion's 1992 film The Piano, easily Nyman's best-known work; like so many of his compositions, he obsessively reworked the music to The Piano time and time again, the haunting melodies reappearing arranged for standard piano concerto, for two pianos, for chamber ensemble, for soprano saxophone and strings (Lost and Found), and for soprano and string quartet (The Piano Sings). While 1992's The Upside-Down Violin reflected Nyman's continuing fascination with traditional ethnic musics, 1993's MGV, or Musique a Grande Vitesse, returned to the propulsive sounds of the Michael Nyman Band. Other major works include 1992's Time Will Pronounce, 1993's Yamamoto Perpetuo (a composition for unaccompanied violin written for Alexander Balanescu), 1994's solo harpsichord work Tango for Tim, and 1995's String Quartet No. 4. Among Nyman's film scores: 1995's Carrington and 1997's Gattaca.
转自雅燃
作 品 年 表
音 乐
1 Therese Raquin 【2005】
2 A Cock and Bull Story 无稽之谈 【2005】
一个荒诞的故事
3 The Libertine 风流才子 【2004】
浪荡子/浪子
4 The Actors 男演员 【2003】
男演员(其他)
5 Nathalie... 娜塔莉 【2003】
6 24 heures de la vie d'une femme 一个女人一生中的24小时 【2002】
7 The Son's Room 儿子的房间 【2001】
人间有情天(台)/生命中的最痛(港)/儿子的房间(其他)
8 The Claim 雪岭传奇 【2000】
据为己有(台)/雪岭传奇(港)
9 Act Without Words I 【2000】
10 Ravenous 恶魔军官 【1999】
战地恶魔(台)/恶魔军官(港)/战地恶魔(其他))/饿魔军官
11 The End of the Affair 爱到尽头 【1999】
情事终结(中)/爱情的尽头(台)/激情妒火线(港)/巫山梦断肠/事件的终结(其他)
12 Wonderland 奇境 【1999】
三人有三个梦想(港)
13 Gattaca 变种异煞 【1997】
千钧一发(台)/变种异煞(港)/戛塔卡/加蒂卡(其他)
14 The Ogre 暴力启示录 【1996】
乱世启示录(台)/怪胎(其他)
15 Carrington 玻璃情人 【1995】
玻璃情人(台)/爱与痛的边缘(港)/卡琳顿(其他)/卡林顿
16 À la folie 六天六夜 【1994】
六天六夜(台)
17 Mesmer 疯狂游戏 【1994】
疯狂游戏(台)
18 The Piano 钢琴别恋 【1993】
钢琴师和她的情人(台)/钢琴别恋(港)/钢琴课(其他)
19 The Michael Nyman Songbook 迈克尔·尼曼的音乐笔记 【1992】
20 Prospero's Books 魔法师的宝典 【1991】
普罗斯彼罗的书
21 The Hairdresser's Husband 理发师的情人 【1990】
理发师的情人(台)/爱比死更冷(其他)/理发师的男人
22 Monsieur Hire 伊尔先生 【1989】
易尔先生(台)/公寓之恋/伊尔先生
23 The Cook the Thief His Wife & Her Lover 情欲色香味 【1989】
厨师、大盗、他的太太和她的情人(台)/情欲色香味(港)
24 Drowning by Numbers 淹没在数字中 【1988】
挨个儿淹死/淹死老公
25 Miraculé, Le 【1987】
26 A Zed & Two Noughts 动物园 【1985】
一加二的故事(台)/动物园(港)
27 The Draughtsman's Contract 画师的合同 【1982】
绘图师的合约(台)/绘图师的合约(港)/画师的合同/英国花园谋杀案
28 Brimstone and Treacle 硫磺石与蜜糖 【1982】
硫磺石与蜜糖(台)/引狼入室(港)/硫磺和糖浆(其他)
29 Chelovek s kinoapparatom 持摄影机的人 【1929】
持摄影机的人(中)/持摄影机的人(台)
演 出
1 9 Songs 九首歌 【2004】
九歌/情欲九歌/9首歌/9歌
2 The Michael Nyman Songbook 迈克尔·尼曼的音乐笔记 【1992】 |
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