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Создавать темы 10-Авг-2018 15:30


Van-Anh Vanessa Vo (ft Kronos Quartet) / Three-Mountain Pass
Жанр: Vietnamese Traditional, World
Носитель: WEB
Страна-производитель диска (релиза): USA
Год издания: 2013
Издатель (лейбл): Innova Recordings
Номер по каталогу: #866
Страна исполнителя (группы): Vietnam
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 00:45:23
Источник (релизер): 7digital
Наличие сканов в содержимом раздачи: да (front, back, pdf-booklet)
1. Vòng Cổ 08:27
2. 3 Gnossiennes: Gnossiennes No. 3 (by Erik Satie) 04:49
3. Three-Mountain Pass 09:47
4. Green River Delta 04:41
5. Mourning 04:33
6. The Legend 06:41
7. Go Hunting 06:24
Доп. информация: http://www.vananhvo.com/

Audiochecker log

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Path: ...\Van-Anh Vanessa Vo - Three-Mountain Pass (2013) [FLAC]
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Summary 66,00% CDDA

Об исполнителе (англ.) | About Artist (en)

Van-Anh Vanessa Vo devotes her life-long passion and mastery of the dan tranh zither to the creation of distinctive music blended with a cultural essence that can only come from this unique Vietnamese instrument. Among her accomplishments are the 2009 Emmy® Award-winning soundtrack for the documentary “Bolinao 52”, which she co-composed and recorded, and the soundtrack for the Sundance best documentary and 2003 Academy Awards® nominee “Daughter from Danang”. Van-Anh also co-composed and recorded for the recent documentary “A Village Called Versailles”, winner of the New Orleans Film Festival Audience Award.
Vo's "Three Mountain Pass," which includes her music and traditional Vietnamese pieces played on a number of Vietnamese instruments interestingly begs the question of what is American music, especially since a knockout on the disc is her transcription of French composer Erik Satie's "Gnossienne No. 3." - Mark Swed; Los Angeles Times
It’s gorgeous and sentimental. I loved the way she stretched that note [on dan Bau]. It almost sounded like slide guitar. It felt very bluesy too. - Betto Arcos; NPR All Things Considered Weekend Edition
The dramatic interest, unusual instruments and playing techniques coupled with stellar musicianship, keen visual interest and a stage presence to die for all contributed to its status as a masterpiece. - Johnathon Bakan; SF Asian Music Examiner
Her appearance was dramatic in stunning costume and headdress, her music was riveting, her stage presence theatrical, and her contribution to Vietnamese musical culture outstanding. - Heather Morris; Peninsula Review
The music is rhythmically compelling - it weaves a story through the notes; a walk in mysterious woods or whatever the imagination can conjure up. The music is quite hypnotic in nature, the notes of the stringed instruments in particular so malleable they can express a range of emotion in a single wavering note. - Anya Wassenberg; Art & Culture Maven
Indeed, Vo’s energy and enthusiasm for musical creativity seems to transcend any particular instrument and instead feed off a fundamental sonic curiosity, as well as a desire to reflect on her cultural heritage and share those sounds with new ears. Vo draws strong connection between American jazz and the improvisation involved in traditional Vietnamesemusic. - Molly Sheredan; New Music Box
Vân-Ánh Võ is a mesmerisingly awesome, and Emmy award winning zitherplayer (among other instruments), and someone who is not only fascinating to hear, but fun to watch. My entire exposure to zithers up to this point was the soundtrack to The Third Man, so I associated zithers with laid-back cool. Vân-Ánh takes it to a whole other level. She moves about that zither with the crazy self-confidence of someone who’s completely mastered an instrument, it’s pretty inspiring stuff … Vân-Ánh, on the other hand is energetic, striking poses behind them [Kronos Quartet], focused, iconic looking and always giving it her all. – London City Night Review, 2012 London Olympic
Comes from a family of musicians and began studying đàn tranh (16-string zither) from the age of four, Van-Anh graduated with distinction from the Vietnam Academy of Music, where she later taught. In 1995, Vân-Ánh won the championship title in the Vietnam National Đàn Tranh Competition, along with the first prize for best solo performance of modern folk music. In Hanoi, Vân-Ánh was an ensemble member of Vietnam National Music Theatre as well as a member of the traditional music group Đồng Nội Ensemble, which she founded and directed. She has since performed in more than fourteen countries and recorded many broadcast programs in and outside of Vietnam.
In addition to touring internationally, Vân-Ánh has presented her music at Carnegie Hall, Zellerbach Hall, Lincoln Center, Kennedy Center, and as a composer and guest artist for the Kronos Quartet at the Olympic Games 2012 Music Festival. In 2002, Vân-Ánh released her first CD, Twelve Months, Four Seasons; and in 2009, she released She’s Not She with award-winning composer Do Bao. Recently, she released her third CD Three-Mountain Pass with the Kronos Quartet as her guest artist.
Besides dan tranh, Van-Anh also performs as soloist on the monochord (bau), the 36-string hammered dulcimer (dan tam thap luc), the bamboo xylophone (dan t’rung), the k’longput, traditional drums (trong), and Chinese guzheng. She lives and teaches dan tranh and other Vietnamese traditional instruments in Fremont, California. For further information regarding dan tranh, traditional Vietnamese traditional music, or future CDs, please visit website: www.vananhvo.com or email: [email protected]

Об альбоме (англ.) | About Album (en)

Van Anh Vo’s Evocative, Groundbreaking Vision for Vietnamese Tradition Vibrates and Sings on her Debut, Three-Mountain Pass
Passionate and wildly talented traditional Vietnamese instrumentalist and composer Van-Anh Vanessa Vo knows where the soul of her music lies: in her left hand.
“It brings out all the colors, everything you want to hear, the bending and sliding notes. Otherwise, with just the right hand, the melody feels so dry,” explains Vo. “The right hand is the father who sired me, but the left hand is my mother who raised me.”
The left hand’s color and emotive quality burst through the diverse and intriguing pieces of Three Mountain Pass (Innova; release: September 24, 2013 through Naxos USA). A masterful player of the 16-string dan Tranh—a zither with moveable bridges and the springy, bending tones resembling the koto—and the pitch-bending monochord dan Bau, Vo draws on the dozens of traditional genres found in Vietnam to craft new arrangements and compositions.
Whether setting a sensual 18th-century poem to a newly invented instrument (“Three Mountain Pass”) or completely upending one of Satie’s Gnossiennes, Vo brings virtuosic subtlety and profound emotion to her work, a keen ear for the essence of her roots and their potential resonance with contemporary sounds.
In collaboration with Kronos Quartet (the wonderful chamber music conversation of “Green River Delta”) and fellow Vietnamese trailblazer, guitarist Nguyen Le, in her work with orchestras and Japanese taiko drum ensembles, Vo reveals the great breadth and flexibility of the traditional styles she spent decades perfecting with master musicians and at the conservatory in Hanoi. Now based in the Bay Area, Vo pushes the envelope of the past, engaging sounds and complex, multi-layered concepts to unfurl new spaces for the music she loves.
“I think if you have a love for music, you want to explore more and more and maximize your abilities,” muses Vo, whose mastery of dan Tranh, dan Bau, and 5 other Viet traditional instruments is exceedingly rare. “I’m still doing it, not just with Vietnamese traditional instruments, but I’ve moved to many other instruments around the world, as many as I can.”
Finding the freedom and well of feeling in long-standing forms and age-old instruments comes naturally to Vo, who grew up surrounded by a near cacophony of different music, streaming from the windows and apartments of her childhood neighborhood in Hanoi.
Vo’s father worked as a musician to keep up morale in the North Vietnamese army during the war, accompanying himself on the guitar. Her family was eventually given housing in Hanoi’s remarkable artists’ quarter, where musicians lived choc-a-bloc and a dozen different genres and traditions entwined.
“We’d get up and start to hear people practicing, very early in the morning,” recalls Vo fondly. “In front of me I’d hear Western opera and behind me I’d hear traditional music, traditional opera, people practicing voice and instruments. On my right I might hear western-style pop and on my left I’d hear someone practicing traditional instruments. It all came to me, and I thought it was very inspirational.”
Vo knew from her first lessons in reading music with her father that she would be musician herself, never needing parental insistence to practice and play. In fact, Vo pursued what she wanted to know with an astounding dedication and persistence. It took her three years to win over one of her masters, a brilliant player of the dan Tranh, the late Master The Thiep. She pays homage to her beloved teacher with her own interpretation of “Vong Co,” a classic piece from Southern Vietnamese folk opera. She kept asking for lessons, and he kept saying no, until he took her on as an apprentice, a role that more closely resembles that of adopted daughter than mere music student.
What Vo learned from The Thiep and other master musicians was just as much about improvisation and expression as strict adherence to a canon or approach. Vo would sit back and listen as Master The Thiep whipped out version after version of Vietnamese opera themes, varying them much the way a jazz musician might. Vo applies this spirit of variation and improvised reinterpretation to pieces like Satie’s “Gnossienne No 3,” as Vo’s dan Bau captures both the quirky playfulness of the French composer’s work, as well as his heartache, sliding fluidly through the melody.
This liquid, nimble movement—the left-hand aspect—became a powerful touch point as Vo began working with Kronos on pieces like “Green River Delta,” a lively conversation between Kronos’s rich strings and Vo’s rippling dan Tranh. “The first time they heard the piece, they stopped with awe,” recounts Vo. “When they tried it, the music sounded like an etude, because they didn’t know what note had to vibrate, what was a passing note. I had to teach them the meaning of the left hand.”
The fluid tones the left hand lends echo the contours of the Vietnamese language, as Vo explores in “Mourning,” a piece expressing the aftermath of war and the grief caused by its losses. Based on Vietnamese funeral music, the composition unites three dan Bau—instruments that traditionally play solo because of their distinctive, overpowering qualities. Yet Vo lets them interact, finding the different facets and voices of loss in their plaintive, heartfelt tones.
Vo’s sensitivity to new voices that speak to her roots resounds on the title track, “Three Mountain Pass,” a striking arrangement of a poem by pioneering 18th-century woman poet Ho Xuan Huong, a concubine who decried the hardship faced by women in society. Her poetry is well loved among all Vietnamese people for its witty, multi-layered meanings that are sexually daring and nonconformist, even by today’s standards. Using the vocal style of Vietnamese mediums, Vo digs into the poem’s many layers—its natural beauty, sensual intensity, and forceful statement of feminine power—letting her voice mingle with the booming vibrations of the Hang (a rare percussion instrument invented by eccentric Swiss instrument makers) and the bamboo xylophone (dan T’rung). With similar grace, Vo incorporates the bold sound of taiko drums into some of her works, refusing to let their muscular qualities overwhelm her instruments’ seeming delicacy (“Go Hunting”).
Vo’s urge to innovate while remaining firmly grounded in the traditions she loves has blossomed since she immigrated to the US in the late 1990s, after she met her future husband when on a visit to the States as part of an official artist delegation from Vietnam. “Moving here, to the US, has opened many opportunities for me. Now, I do what I want, and I find a way to express my inner voice and my thinking,” reflects Vo. “As a young woman, when I would practice, my family would always know what emotions I was feeling at that time. They could hear it. I started to write music from those feelings. I feel so good, to be able to express what I feel and share what I feel with my audiences, the common emotions we all share.”

Состав | Artists

Van-Anh Vanessa Vo - dan Tranh, dan Bau, Three dan Baus, Hang & Vocal
Jimi Nakagawa - Percussion (3)
Frances Martin - Keyboard (6)
Kronos Quartet (4)
David Harrington, violin
John Sherba, violin
Hank Dutt, viola
Jeffery Zeigler, cello
Вьетнамская мультиинструменталистка Ванесса Во (урожденная Võ Vân Ánh), ныне проживающая в калифорнийском городе Фремонт, на сегодня является одной из самых известных исполнительниц на древней 16-струнной цитре, именуемой «дан чан». Эта цитра, диапазоном в три октавы, родом из Китая, она появилась во Вьетнаме около 12-13 ст., во времена династии Чан. Во Вьетнаме «дан чан» используют в качестве сопровождающего при декламации поэзии или в драматических постановках, как сольный или оркестровый инструмент для камерной, а также религиозной музыки. Ванесса Во в совершенстве овладела техникой игры на «дан чан», практикуя на нём с четырехлетнего возраста и окончив с отличием Вьетнамскую академию музыки. Кроме цитры «дан чан» Ванесса Во владеет и другими классическими и народными вьетнамскими инструментами, в частности однострунной цитрой «дан бау», бамбуковым ксилофоном, всевозможной перкуссией и китайской цитрой «гучжэн». Сольный альбом Ванессы Во Three-Mountain Pass был записан в 2013 году при участии популярной группы Kronos Quartet.

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