Любомир Мельник / Lubomyr Melnyk / Fallen Trees
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2018
Жанр: modern classical, neoclassical, post-minimalism, piano music
Издатель (лейбл): Erased Tapes
Продолжительность: 00:44:12
Наличие сканов в содержимом раздачи: front
Источник (релизер): qobuz
Треклист:
01. Requiem for a Fallen Tree (07:15)
02. Son of Parasol (07:38)
03. Barcarolle (08:02)
04. Fallen Trees - Part I: Preamble (04:23)
05. Fallen Trees - Part II: Existence (03:24)
06. Fallen Trees - Part III: Apparition (06:30)
07. Fallen Trees - Part IV: They Are Down (03:46)
08. Fallen Trees - Part V: Not Forgotten (03:23)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/44,1
Формат: PCM
Количество каналов: 2.0
Композитор: Lubomyr Melnyk
Исполнители: Lubomyr Melnyk (piano), Hatis Noit (vocal), David Allred (vocal), Anne Müller (cello)
Доп. информация: https://www.erasedtapes.com/artist/lubomyr-melnyk
Лог проверки качества
foobar2000 1.3.7 / Dynamic Range Meter 1.1.1
log date: 2018-12-07 13:25:18
--------------------------------------------------------------------------------
Analyzed: Lubomyr Melnyk / Fallen Trees
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR11 -1.37 dB -16.23 dB 7:15 01-Requiem for a Fallen Tree
DR11 0.00 dB -13.16 dB 7:37 02-Son of Parasol
DR11 0.00 dB -15.08 dB 8:01 03-Barcarolle
DR10 -2.10 dB -15.73 dB 4:22 04-Fallen Trees, Pt. I: Preamble
DR10 -2.74 dB -15.65 dB 3:23 05-Fallen Trees, Pt. II: Existence
DR11 0.00 dB -15.27 dB 6:30 06-Fallen Trees, Pt. III: Apparition
DR9 -1.46 dB -14.05 dB 3:45 07-Fallen Trees, Pt. IV: They Are Down
DR12 -1.20 dB -17.72 dB 3:23 08-Fallen Trees, Pt. V: Not Forgotten
--------------------------------------------------------------------------------
Number of tracks: 8
Official DR value: DR11
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1166 kbps
Codec: FLAC
================================================================================
Об исполнителе (рус.) | About Artist (ru)
Любомир Мельник
Пианист и композитор Любомир Мельник родился в Мюнхене 22 декабря 1948 года в семье украинских беженцев. В 1950 родители Любомира, спасаясь от коммунистической экспансии, семья переехала в г. Виннипег, в Канаде, где вскоре, после обучения в Университете Манитобы (University of Manitoba), Любомир стал бакалавром искусств, а затем мастером искусств по философии в Университете Куинс (Queen’s University), Онтарио. С 1973 по 1975 год жил в Париже, где аккомпанировал хореографическим постановкам в Парижской опере. В этот время Мельник разработал свою оригинальную концепцию «непрерывной музыки» («continuous music») – своеобразный подход к композиции и исполнению на фортепиано, который описал в своей книге “Open Time: The Art of Continuous Music” (Торонто, 1981). При игре таким способом задействованы крайне быстрые арпеджио различной продолжительности, которые повторяются с помощью педали сустейна для создания обертонов и симпатического резонанса. Обертона смешиваются или конфликтуют в соответствии с гармоническими изменениями в арпеджио - гармонями, основанными на собственных геометрических моделях Мельника – и создают грозный и величественный эффект. Подход к исполнению и стиль композиций Мельника наиболее близки течению минимализма (Стив Райх, Филип Гласс, Терри Райли).
С середины 1970-х годов Любомир Мельник живёт в Швеции и Канаде, а также гастролирует в Европе и Северной Америке, исполняя собственные сочинения. Свою симфонию, посвящённую галерее Сент-Петри (“The Lund - St. Petri Symphony” (1981)), произведение для пианиста и магнитофона, Мельник впервые исполнил в соборе города Лунд, в Швейцарии, а затем в Норвегии и Франции. Произведение, в трех частях, основано на кумулятивном эффекте, достигаемом с помощью оборудования звукозаписи. В присутствии аудитории солист записывает первую часть, затем воспроизводит её, одновременно записывая своё исполнение второй части симфонии, далее процесс повторяется путем записи третьей части поверх наложенных друг на друга записей предыдущих частей. Ряд альбомов Мельника, например “The Stone Knight” (1983) и “The Voice Of Trees” (1985), - это записи его живых выступлений в Кёльне и Лионе соответственно. В 1989 году дал концерт в Украинском институте в Нью-Йорке. В 1996 его “It Was Revealed Unto Us That Man Is The Centre Of The Universe” (для фортепиано и струнного трио) (1993) было исполнено в музыкальной галерее Торонто. Активная концертная деятельность Мельника поддерживается Канадским центром музыки и Канадской корпорацией радиовещания (CBC), и он периодически возвращается в Канаду для выступлений в Виннипеге и Торонто.
В некоторых сочинениях Любомир ссылается на своё украинское происхождение. Так, его “Poslaniye” (1983), посвящённое погибшим от коммунистических репрессий украинцам, основано на поэме Тараса Шевченко ”І мертвим, і живим, і ненародженим землякам моїм в Украйні і не в Украйні моє дружнєє посланіє”, а “A Portrait Of Petlura On The Day He Was Killed” (1989) – лирическое посвящение личности и деятельности Симона Петлюры. Мельник активно сотрудничает с украинскими музыкантами: записи “Swallows” (1994), “Ukrainian Music For String Quartet” (2004), “Vocalizes and Antiphons” (2006) были сделаны при участии Львовского струнного квартета, “The Seven Last Words of Christ” (2004) – со струнным квартетом Ивано-Франковска, “Sånger Och Antiphon Nr. 6” (2002) – в сотрудничестве с оперным певцом Василием Колибабюком. https://www.neformat.com.ua/forum/classical/55992-lubomyr-melnyk-lyubomir-melnik.html
Об исполнителе (англ.) | About Artist (en)
Lubomyr Melnyk
'Continuous music' pioneer and literal force of nature Lubomyr Melnyk releases his new album Fallen Trees on December 7, 2018. Known as ‘the prophet of the piano’ due to his lifelong devotion to his instrument, the release coincides with Melnyk's 70th birthday.
Despite the autumnal hint in its title, there’s little suggestion of him slowing down. Having received critical acclaim and co-headlining the prestigious Royal Festival Hall as part of the Erased Tapes 10th anniversary celebrations, after many years his audience is now both global and growing. The composer is finally gaining a momentum in his career that matches the vibrant, highly active energy of his playing.
Cascades of notes, canyons and rivers of sound: there’s something about his music that channels the natural world at its most awe-inspiring. In Fallen Trees the connection with the environment continues, taking its cue from a long rail journey Melnyk made through Europe. Glancing out of the window as the train passed through a dark forest, he was struck by the sight of trees that had recently been felled. “They were glorious,” he says. “Even though they’d been killed, they weren’t dead. There was something sorrowful there, but also hopeful.” That sense of sadness touched by optimism infuses the album, too: rarely has Melnyk made music so shot through with melancholy and regret, but which sounds so rapt, even radiant.
Drawing comparisons with Steve Reich and the post-rock group Godspeed You, Black Emperor!, Pitchfork praised his 2015 album Rivers And Streams for it’s “sustained concentration and ecstatic energy”. That energy is present in Fallen Trees too, but at points the tone is quieter, the mood darker and more wistful. At points elsewhere on the album, despite being routed in the wonders of the natural world, there’s a kaleidoscopic quality in the fractal flurry of notes and the broad spectrum of colour they summon.
The work that gives it its name, the five-part, 20-minute Fallen Trees, is one of the most ambitious and demanding pieces he has ever created. Though the music is – as ever – Melnyk’s own, Fallen Trees once again features a number of Erased Tapes artists. Japanese vocal artist Hatis Noit, whose first EP Illogical Dance came out to much acclaim earlier this year, lends ethereal vocals, floating mysteriously above the surface of Melnyk’s eddying piano lines before diving far beneath. Other contributors include Berlin-based cellist Anne Müller, a sometime collaborator with Nils Frahm, and American singer David Allred, the most recent addition to the label family. “More than any of the albums that I’ve done, it’s a real collaboration,” Melnyk insists, emphasising how much he owes to his producer, Erased Tapes founder Robert Raths.
Born in Ukraine in 1948, Melnyk fell for the piano at an early age. Given lessons as a young child after his family emigrated to Canada after the iron curtain came down, he was immediately transfixed by the possibilities of the instrument. “On the piano, you can create whole worlds,” he reflects. “I realised that it could be an orchestra, a choir of sound.”
After studying classical piano and graduating with a degree in Latin and Philosophy from St Paul’s College in Winnipeg, in the early 1970s Melnyk found himself in Paris. Homeless and in desperate need of money, he supported himself by accompanying dance lessons for a company run by the experimental choreographer Carolyn Carlson. The experience became a kind of epiphany: watching Carlson’s dancers, he began to play a new kind of music, spontaneous and improvisatory – responding not to rigid classical conventions but the dance he saw unfolding. Using the sustain pedal to create echo and reverb, he transformed free-flowing cascades of notes into hypnotic waves of sound. Eventually he found a name for this new style: ‘continuous music’, which he uses to this day.
Critics have detected the influence of Ravi Shankar and other Indian styles in Melnyk’s music, along with the insistent, repetitive textures of minimalist pioneers such as Steve Reich and Philip Glass. Melnyk himself cites his debt to the American composer Terry Riley, particularly the legendary 1964 work 'In C’, which he says “opened the world for me”. But he adds that if you listen carefully, you’ll also be able to hear the lilting contours of traditional Ukrainian folk music.
It might be truer to say that there is genuinely nothing quite like Melnyk’s work: a unique musical pioneer, he has defiantly carved his own path. “I don’t say to people I’m a composer,” he declares. “I don’t know what I am.”
Melnyk composes, as he plays, at the piano, feeling out lines and individual rhythmic cells that bubble, undulate and gradually expand into vast, interlinked frameworks. Asked to describe what it’s like to live inside his music, he says “my whole body is transformed as I play, it honestly feels like that. My fingers feel like the winds of the world; it feels like you’re physically transcending dimensions.” https://www.erasedtapes.com/artist/lubomyr-melnyk
Об альбоме (англ.) | About Album (en)
On December 7th Erased Tapes present ‘Fallen Trees’ – the new album by singular talent and literal force of nature Lubomyr Melnyk – known as ‘the prophet of the piano’ due to his lifelong devotion to his instrument.
The album release coincides with Melnyk’s 70th birthday, but despite the autumnal hint in its title, there’s little suggestion of him slowing down. Having received critical acclaim and co-headlining the prestigious Royal Festival Hall as part of the ErasedTapes 10th anniversary celebrations, after many years his audience is now both global and growing. The composer is finally gaining a momentum in his career that matches the vibrant, highly active energy of his playing.
Cascades of notes, canyons and rivers of sound: there’s something about his music that channels the natural world at its most awe-inspiring. In ‘Fallen Trees’ the connection with the environment continues, taking its cue from a long rail journey Melnyk made through Europe. Glancing out of the window as the train passed through a dark forest, he was struck by the sight of trees that had recently been felled. “They were glorious,”he says. “Even though they’d been killed, they weren’t dead. There was something sorrowful there, but also hopeful.” That sense of sadness touched by optimism infuses the album, too: rarely has Melnyk made music so shot through with melancholy and regret, but which sounds so rapt, even radiant.
Drawing comparisons with Steve Reich and the post-rock group Godspeed You, Black Emperor!, Pitchfork praised his 2015 album ‘Rivers And Streams’ for it’s “sustained concentration andecstatic energy”. That energy is present in ‘Fallen Trees’ too, but at points the tone is quieter, the mood darker and more wistful. At points elsewhere on the album, despite being routed in the wonders of the natural world, there’s a kaleidoscopic quality in the fractal flurry of notes and the broad spectrum of colour they summon.
The work that gives it its name, the five-part, 20-minute ‘Fallen Trees’, is one of the most ambitious and demanding pieces he has ever created. Though the music is – as ever – Melnyk’s own, ‘Fallen Trees’ once again features a number of Erased Tapes artists. Japanese vocal artist Hatis Noit, whose first EP ‘Illogical Dance’ came out to much acclaim earlier this year, lends ethereal vocals, floating mysteriously above the surface of Melnyk’s eddying piano lines before diving far beneath. Other contributors include Berlin-based cellist Anne Müller, a sometime collaborator with Nils Frahm, and American singer David Allred, the most recent addition to the label family. “More than any of the albums that I’ve done, it’s a real collaboration,”Melnyk insists, emphasising how much he owes to his producer, Erased Tapes founder Robert Raths. https://www.erasedtapes.com/release/eratp116-lubomyr-melnyk-fallen-trees
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发表于 2020-12-8 15:05:46
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