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- Jozef Van Wissem
- Все записи Записи сообщества Поиск Александр Панов запись закреплена Александр Хальзов запись закреплена Александр Панов запись закреплена Максим Городинський запись закреплена Марина Сергеева запись закреплена Ваня Мишин запись закреплена ÁНЕВА — длинная полоса зари вдоль горизонта, предвещающая ветер и перемену погоды. «Поморьска говоря. Краткий словарь поморского языка» Георгий Желтков запись закреплена Пётр Иванов запись закреплена Александр Галецкий запись закреплена Федор Клоков запись закреплена Jozef Van Wissem запись закреплена Discography Traversing Cultural Barriers Показать полностью. Born and raised in the cosmopolitan climate of Beirut in the sixties and seventies, Rabih Abou- Khalil learned to play the oud, the Arabian short-necked lute, at the age of four. In the Arab world this instrument is as popular as the guitar or the piano in the West and is the composer’s instrument par excellence. The Lebanese civil war forced him to leave his country in 1978 to study classical flute in the German city of Munich, where he was tutored at the Munich Academy of Music by Walther Theurer. The analytical preoccupation with the European classical tradition enabled him to grasp Arabic music from a further, theoretical position, opening his eyes to the possibility of operating simultaneously within musically divergent systems. Rabih Abou-Khalil has asserted himself as an original composer, not just because he is ahead of his time – but because he also questions what others might pursue without further reflection. With his original composing technique, his unconstrained, daring approach to classical Western and Arabic music, he has found a rhythmically and melodically complex musical language entirely his own, sounding simultaneously strange and yet familiar. It seems to break with almost every existing musical idiom. As an instrumentalist, Abou-Khalil continuously explores new ways of playing his instrument. Using techniques acquired in his classical music studies and assimilating them into his Arabic musical upbringing, he reached a level of instrumental mastery hitherto unknown. His dazzling virtuosity has led music critics to recommend his playing as a “study for jazz guitarists”; his ballads, on the other hand, rekindle memories of the poetic dawn of Arabian culture, without ever sounding unadventurous or traditionalistic. Unwilling to make artistic compromises, Rabih Abou-Khalil decided early in his career to produce and release his music himself. He has always given all aspects of his work his personal signature. Whether it was the cover design, the sound quality of the recording, or the often literary liner notes, Abou-Khalil was part of every stage of the production. This has not changed until today and has been a central element in his long lasting collaboration with his record company ENJA. In 1982 Abou-Khalil recorded and produced his first album “Compositions and Improvisations”, followed by “Bitter Harvest” and then “Between Dusk and Dawn”, which included an international cast of highly acclaimed musicians. The unexpected commercial success of these productions caught the interest of record companies. Abou-Khalil recorded “Nafas” for the German record label ECM, and soon after started his long time cooperation with ENJA. The award winning “Al-Jadida”, with its elaborate cover and uncompromising musicality with was the first CD for this label. A number of ground breaking and award winning albums followed, like the adventurous album “Blue Camel”, the more traditional sounding album “Tarab”, and “Arabian Waltz” with the Balanescu String Quartet, totaling to date more than 20 CDs. What superficially appears to be a chance encounter between opposing instruments and a seemingly antagonistic clash of talents from different musical worlds is in fact the result of a well pondered upon concept. Under Abou-Khalil‘s guidance these undeniable differences by no means descend into Babylonian confusion. On the contrary, the cosmopolitan musicians from different cultural backgrounds draw inspiration from their shared intuitive understanding of the serious challenge they face in interpreting Abou-Khalil’s music. The intellectual and emotional identification with these compositions unleashes charges of enthusiasm in each of the players, inciting new heights of musical mastery. Yet the temptation of individual one-upmanship never surpasses the collective innovative endeavor and exploration into uncharted terrain. Abou- Khalil’s highly varied works – all nonetheless derived from this very elixir – now stand in their own right, extending so far beyond convention that they somehow elude all categorization such as Orient or Occident, jazz, world music or classical. Abou-Khalil’s music thrives on creative encounters and not on exoticism. From a combination of diverse cultural elements something very personal and coherent emerges. Commissioned by the Südwestfunk (Southwest German Radio), Abou-Khalil wrote two compositions for string quartet in his own rhythmically and melodically charged style and thus successfully integrated the string quartet – for centuries the domain of European classical music – into his musical language. The maiden performance with the Kronos String Quartet was the highlight at the Stuttgart Jazz Summit in 1992. For the BBC Concert Orchestra, Abou Khalil composed works that premiered with great success in London and Chichester. The rehearsals and performances were featured in “Bridging the Gap”, a film on Rabih Abou-Khalil, directed by Ciro Capellari. On another project for the German city of Duisburg he chose to collaborate with the Ensemble Modern, one of the most renowned chamber orchestras specializing in contemporary music. His enthusiasm for orchestral works continued; he composed for international orchestras from Osnabrück in Germany, to St. Pölten in Austria, to Skopje in Macedonia, to Yoyo Ma’s Silk Road Ensemble in the United States. Abou-Khalil’s visually evocative music seems predestined for film. Among several other film scores he wrote the music for the award winning German-Turkish film “Yara”, directed by Yilmaz Arslan. In 2009 he was commissioned by the German television “ZDF” and “ARTE” to write orchestral music for the 1922 silent German film “Nathan the Wise”. The impressive screenings, with live performances by the German Youth Symphony Orchestra in Munich and Berlin, were met with standing ovations and rapturous reviews, and resulted in the production of the CD “Trouble in Jerusalem”. Dietmar Wiesner, the flute player and co-founder of the Ensemble Modern, summed up his impressions from the rehearsals: “While working with Rabih Abou-Khalil, I was starkly reminded of a saying by Herbert von Karajan: ‘Do not play the bars along with the music, play across the measures’.” “Unbelievably fine, irregular rhythms, masterfully formed into melodic chains that remain in a floating condition, never seeming to land, and thus reaching a high level of charm that relentlessly pulls the listener into its magic.” Genre: Jazz, Folk, World, & Country Style: Oriental Jazz, Ethnic, Modal, Folk, Fusion, Latin Jazz, Contemporary Jazz Источник Концерты композитора Jozef van Wissem в России Официальная страница артиста на русском языке. Ближайшие концерты современных композиторов: Alexandre Desplat (Франция) — подробнее Fabrizio Paterlini (Италия) — подробнее Wardruna (Норвегия) — подробнее Йозеф ван Виссем (Нидерланды) Биография Дата рождения: 22 Ноября 1962 Йозеф ван Виссем — авангардный композитор и лютнист из Нидерландов, получивший награду Каннского кинофестиваля за музыку к вампирской драме Джима Джармуша «Выживут только любовники». Соединяя барочное звучание средневекового инструмента с последними достижениями в музыке, он пытается сделать лютню доступной широкому кругу слушателей. Среди заслуг голландца с готической внешностью: саундтрек к видеоигре «The Sims Medieval», аудиосопровождение к картине «Послы» Ганса Гольбейна по заказу Лондонской национальной галереи, музыка к документальным фильмам «Дядя Говард» Аарона Брукнера и «Portrait of a Garden» Рози Стапель, драмам «Red Right Return» Джоржа Манатоса и «The Erotic Fire of the Unattainable» Эмилии Феррейры. Обладатель единственной в мире черной лютни исполняет на ней музыку столь же мрачную и загадочную, но мрачность эта вопреки стереотипам несет свет. Йозеф находит вдохновение в символизме и созерцательном величии пейзажей Каспара Фридриха, вольной трактовке библейских сюжетов Пьера Паоло Пазолини и, конечно же, работах своего друга, легенды независимого кино Джима Джармуша, с которым голландец периодически уединяется в студии и пишет странную, но невероятно притягательную музыку. Однако сам артист предпочитает не вкладывать в творчество собственные смыслы, оставляя слушателю широкий простор для размышлений. Концертные версии произведений ван Виссема отличаются от предзаписанных — исполнение всегда разное и зависит от архитектуры и акустики места, где выступает лютнист. Часто он использует электронные эффекты и звуки окружающего мира. А порой выходит за рамки привычного клубного формата и перешагивает порог академических залов, в которых яркая тембральная окраска, лаконичность и выразительное звучание средневекового инструмента достигают пределов своей естественности. ДИСКОГРАФИЯ Retrograde: A Classical Deconstruction (2000) Narcissus Drowning (2002) Simulacrum (2003) Objects in Mirror Are Closer Than They Appear (2005) A Rose by Any Other Name: Anonymous Lute Solos of the Golden Age (2006) Stations of the Cross (2007) A Priori (2008) It Is All That Is Made (2009) Ex Patris (2010) The Joy That Never Ends (2011) Arcana Coelestia (2012) Nihil Obstat (2013) It Is Time For You To Return (2014) Partir to Live (2015) When Shall This Bright Day Begin (2016) New Lute Music For Film (2017) Nobody Living Can Ever Make Me Turn Back (2017) We Adore You, You Have No Name (2018) Diplopia (2003) совместно с Gary Lucas Proletarian Drift (2004) совместно с Tetuzi Akiyama The Universe of Absence (2004) совместно с Gary Lucas Das Platinzeitalter (2007) совместно с Maurizio Bianchi Hymn for a Fallen Angel (2007) совместно с Tetuzi Akiyama All Things Are from Him, Through Him and in Him (2008) в качестве Brethren of the Free Spirit The Wolf Also Shall Dwell with the Lamb (2008) в качестве Brethren of the Free Spirit Suite the Hen’s Teeth (2010) совместно с Smegma Downland (2010) совместно с United Bible Studies A Prayer for Light (2010) совместно с Heresy of the Free Spirit Concerning the Entrance into Eternity (2012) совместно с Jim Jarmusch The Mystery of Heaven (2012, Sacred Bones Records) with Jim Jarmusch and Tilda Swinton Apokatastasis (2012, Incunabulum) featuring Jim Jarmusch Only Lovers Left Alive (2014, Atp Recordings) with Zola Jesus and Sqürl An Attempt to Draw Aside the Veil (2019, Sacred Bones Records) with Jim Jarmusch Источник Jozef van Wissem Madstream Booking представляет: Энигматичный творец с инструментом 16-го века, не признающий правил и догм. Рок-н-ролльный адепт от мира средневековой музыки, способный повернуть эпохи вспять. Jozef van Wissem (Netherlands) Филигранной игрой на своей чёрной лютне музыкант с успехом покоряет академические залы, католические соборы и сцены рок-фестивалей. Знакомство с легендой независимого кино Джимом Джармушем переросло в настоящую дружбу и крепкое партнёрство, подарившее миру совместные музыкальные творения. С одинаковой увлечённостью Йозеф работает как с Лондонской национальной галереей, так и с шумными экспериментаторами Smegma. Являясь лауреатом Каннского кинофестиваля за музыку к вампирской драме «Выживут только любовники», он пишет композиции для игры «The Sims», а на его концерты заходит Андрей Звягинцев. В записи последнего альбома «Ex Mortis» приняли участие лидер Shortparis Николай Комягин, певица Jarboe и Тор Харрис (ex-Swans, Xiu Xiu). Пришло время отправляться в новое пространственное измерение! Источник
- Концерты композитора Jozef van Wissem в России
- Йозеф ван Виссем (Нидерланды)
- Биография
- ДИСКОГРАФИЯ
- Jozef van Wissem
Jozef van wissem ноты
WE ADORE YOU, YOU HAVE NO NAME
NOBODY LIVING CAN EVER MAKE ME TURN BACK
NEW LUTE MUSIC FOR FILM
JOZEF VAN WISSEM
When Shall This Bright Day Begin
Jozef van Wissem
A Priori
Jozef van Wissem
A Rose By Any Other Name — Anonymous Lute Solos Of The Golden Age
Jozef van Wissem
It Is All That Is Made
jozef van wissem
Stations Of The Cross
Jozef van Wissem
The Joy That Never Ends
Jozef van Wissem
Nihil Obstat
Jozef van Wissem
The Mystery Of Heaven
Jozef van Wissem & Jim Jarmusch
Concerning The Entrance Into Eternity
Jozef van Wissem & Jim Jarmusch
Apokatastasis
Jozef van Wissem featuring Jim Jarmusch
Ex Patris
Jozef van Wissem
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jozefvanwissem New York
Van Wissem is ‘both an avant-garde composer and a baroque lutenist, and thus no stranger to dichotomy,’ (New York Times). He has been ‘pushing the lute’s agenda out of the academy and into more accessible circles’ (Pitchfork).
Источник
Jozef Van Wissem
- Все записи
- Записи сообщества
- Поиск
Александр Панов запись закреплена
Александр Хальзов запись закреплена
Александр Панов запись закреплена
Максим Городинський запись закреплена
Марина Сергеева запись закреплена
Ваня Мишин запись закреплена
ÁНЕВА — длинная полоса зари вдоль горизонта, предвещающая ветер и перемену погоды. «Поморьска говоря. Краткий словарь поморского языка»
Георгий Желтков запись закреплена
Пётр Иванов запись закреплена
Александр Галецкий запись закреплена
Федор Клоков запись закреплена
Jozef Van Wissem запись закреплена
Discography
Traversing Cultural Barriers
Показать полностью.
Born and raised in the cosmopolitan climate of Beirut in the sixties and seventies, Rabih Abou- Khalil learned to play the oud, the Arabian short-necked lute, at the age of four. In the Arab world this instrument is as popular as the guitar or the piano in the West and is the composer’s instrument par excellence. The Lebanese civil war forced him to leave his country in 1978 to study classical flute in the German city of Munich, where he was tutored at the Munich Academy of Music by Walther Theurer. The analytical preoccupation with the European classical tradition enabled him to grasp Arabic music from a further, theoretical position, opening his eyes to the possibility of operating simultaneously within musically divergent systems.
Rabih Abou-Khalil has asserted himself as an original composer, not just because he is ahead of his time – but because he also questions what others might pursue without further reflection. With his original composing technique, his unconstrained, daring approach to classical Western and Arabic music, he has found a rhythmically and melodically complex musical language entirely his own, sounding simultaneously strange and yet familiar. It seems to break with almost every existing musical idiom.
As an instrumentalist, Abou-Khalil continuously explores new ways of playing his instrument. Using techniques acquired in his classical music studies and assimilating them into his Arabic musical upbringing, he reached a level of instrumental mastery hitherto unknown. His dazzling virtuosity has led music critics to recommend his playing as a “study for jazz guitarists”; his ballads, on the other hand, rekindle memories of the poetic dawn of Arabian culture, without ever sounding unadventurous or traditionalistic.
Unwilling to make artistic compromises, Rabih Abou-Khalil decided early in his career to produce and release his music himself. He has always given all aspects of his work his personal signature. Whether it was the cover design, the sound quality of the recording, or the often literary liner notes, Abou-Khalil was part of every stage of the production. This has not changed until today and has been a central element in his long lasting collaboration with his record company ENJA. In 1982 Abou-Khalil recorded and produced his first album “Compositions and Improvisations”, followed by “Bitter Harvest” and then “Between Dusk and Dawn”, which included an international cast of highly acclaimed musicians. The unexpected commercial success of these productions caught the interest of record companies. Abou-Khalil recorded “Nafas” for the German record label ECM, and soon after started his long time cooperation with ENJA. The award winning “Al-Jadida”, with its elaborate cover and uncompromising musicality with was the first CD for this label. A number of ground breaking and award winning albums followed, like the adventurous album “Blue Camel”, the more traditional sounding album “Tarab”, and “Arabian Waltz” with the Balanescu String Quartet, totaling to date more than 20 CDs.
What superficially appears to be a chance encounter between opposing instruments and a seemingly antagonistic clash of talents from different musical worlds is in fact the result of a well pondered upon concept. Under Abou-Khalil‘s guidance these undeniable differences by no means descend into Babylonian confusion. On the contrary, the cosmopolitan musicians from different cultural backgrounds draw inspiration from their shared intuitive understanding of the serious challenge they face in interpreting Abou-Khalil’s music. The intellectual and emotional identification with these compositions unleashes charges of enthusiasm in each of the players, inciting new heights of musical mastery. Yet the temptation of individual one-upmanship never surpasses the collective innovative endeavor and exploration into uncharted terrain. Abou- Khalil’s highly varied works – all nonetheless derived from this very elixir – now stand in their own right, extending so far beyond convention that they somehow elude all categorization such as Orient or Occident, jazz, world music or classical. Abou-Khalil’s music thrives on creative encounters and not on exoticism. From a combination of diverse cultural elements something very personal and coherent emerges.
Commissioned by the Südwestfunk (Southwest German Radio), Abou-Khalil wrote two compositions for string quartet in his own rhythmically and melodically charged style and thus successfully integrated the string quartet – for centuries the domain of European classical music – into his musical language. The maiden performance with the Kronos String Quartet was the highlight at the Stuttgart Jazz Summit in 1992. For the BBC Concert Orchestra, Abou Khalil composed works that premiered with great success in London and Chichester. The rehearsals and performances were featured in “Bridging the Gap”, a film on Rabih Abou-Khalil, directed by Ciro Capellari. On another project for the German city of Duisburg he chose to collaborate with the Ensemble Modern, one of the most renowned chamber orchestras specializing in contemporary music. His enthusiasm for orchestral works continued; he composed for international orchestras from Osnabrück in Germany, to St. Pölten in Austria, to Skopje in Macedonia, to Yoyo Ma’s Silk Road Ensemble in the United States.
Abou-Khalil’s visually evocative music seems predestined for film. Among several other film scores he wrote the music for the award winning German-Turkish film “Yara”, directed by Yilmaz Arslan. In 2009 he was commissioned by the German television “ZDF” and “ARTE” to write orchestral music for the 1922 silent German film “Nathan the Wise”. The impressive screenings, with live performances by the German Youth Symphony Orchestra in Munich and Berlin, were met with standing ovations and rapturous reviews, and resulted in the production of the CD “Trouble in Jerusalem”.
Dietmar Wiesner, the flute player and co-founder of the Ensemble Modern, summed up his impressions from the rehearsals: “While working with Rabih Abou-Khalil, I was starkly reminded of a saying by Herbert von Karajan: ‘Do not play the bars along with the music, play across the measures’.” “Unbelievably fine, irregular rhythms, masterfully formed into melodic chains that remain in a floating condition, never seeming to land, and thus reaching a high level of charm that relentlessly pulls the listener into its magic.”
Genre: Jazz, Folk, World, & Country
Style: Oriental Jazz, Ethnic, Modal, Folk, Fusion, Latin Jazz, Contemporary Jazz
Источник
Концерты композитора Jozef van Wissem в России
Официальная страница артиста на русском языке.
Ближайшие концерты современных композиторов:
Alexandre Desplat (Франция) — подробнее
Fabrizio Paterlini (Италия) — подробнее
Wardruna (Норвегия) — подробнее
Йозеф ван Виссем (Нидерланды)
Биография
Дата рождения: 22 Ноября 1962
Йозеф ван Виссем — авангардный композитор и лютнист из Нидерландов, получивший награду Каннского кинофестиваля за музыку к вампирской драме Джима Джармуша «Выживут только любовники». Соединяя барочное звучание средневекового инструмента с последними достижениями в музыке, он пытается сделать лютню доступной широкому кругу слушателей. Среди заслуг голландца с готической внешностью: саундтрек к видеоигре «The Sims Medieval», аудиосопровождение к картине «Послы» Ганса Гольбейна по заказу Лондонской национальной галереи, музыка к документальным фильмам «Дядя Говард» Аарона Брукнера и «Portrait of a Garden» Рози Стапель, драмам «Red Right Return» Джоржа Манатоса и «The Erotic Fire of the Unattainable» Эмилии Феррейры.
Обладатель единственной в мире черной лютни исполняет на ней музыку столь же мрачную и загадочную, но мрачность эта вопреки стереотипам несет свет. Йозеф находит вдохновение в символизме и созерцательном величии пейзажей Каспара Фридриха, вольной трактовке библейских сюжетов Пьера Паоло Пазолини и, конечно же, работах своего друга, легенды независимого кино Джима Джармуша, с которым голландец периодически уединяется в студии и пишет странную, но невероятно притягательную музыку. Однако сам артист предпочитает не вкладывать в творчество собственные смыслы, оставляя слушателю широкий простор для размышлений.
Концертные версии произведений ван Виссема отличаются от предзаписанных — исполнение всегда разное и зависит от архитектуры и акустики места, где выступает лютнист. Часто он использует электронные эффекты и звуки окружающего мира. А порой выходит за рамки привычного клубного формата и перешагивает порог академических залов, в которых яркая тембральная окраска, лаконичность и выразительное звучание средневекового инструмента достигают пределов своей естественности.
ДИСКОГРАФИЯ
Retrograde: A Classical Deconstruction (2000)
Narcissus Drowning (2002)
Simulacrum (2003)
Objects in Mirror Are Closer Than They Appear (2005)
A Rose by Any Other Name: Anonymous Lute Solos of the Golden Age (2006)
Stations of the Cross (2007)
A Priori (2008)
It Is All That Is Made (2009)
Ex Patris (2010)
The Joy That Never Ends (2011)
Arcana Coelestia (2012)
Nihil Obstat (2013)
It Is Time For You To Return (2014)
Partir to Live (2015)
When Shall This Bright Day Begin (2016)
New Lute Music For Film (2017)
Nobody Living Can Ever Make Me Turn Back (2017)
We Adore You, You Have No Name (2018)
Diplopia (2003) совместно с Gary Lucas
Proletarian Drift (2004) совместно с Tetuzi Akiyama
The Universe of Absence (2004) совместно с Gary Lucas
Das Platinzeitalter (2007) совместно с Maurizio Bianchi
Hymn for a Fallen Angel (2007) совместно с Tetuzi Akiyama
All Things Are from Him, Through Him and in Him (2008) в качестве Brethren of the Free Spirit
The Wolf Also Shall Dwell with the Lamb (2008) в качестве Brethren of the Free Spirit
Suite the Hen’s Teeth (2010) совместно с Smegma
Downland (2010) совместно с United Bible Studies
A Prayer for Light (2010) совместно с Heresy of the Free Spirit
Concerning the Entrance into Eternity (2012) совместно с Jim Jarmusch
The Mystery of Heaven (2012, Sacred Bones Records) with Jim Jarmusch and Tilda Swinton
Apokatastasis (2012, Incunabulum) featuring Jim Jarmusch
Only Lovers Left Alive (2014, Atp Recordings) with Zola Jesus and Sqürl
An Attempt to Draw Aside the Veil (2019, Sacred Bones Records) with Jim Jarmusch
Источник
Jozef van Wissem
Madstream Booking представляет:
Энигматичный творец с инструментом 16-го века, не признающий правил и догм. Рок-н-ролльный адепт от мира средневековой музыки, способный повернуть эпохи вспять.
Jozef van Wissem (Netherlands)
Филигранной игрой на своей чёрной лютне музыкант с успехом покоряет академические залы, католические соборы и сцены рок-фестивалей. Знакомство с легендой независимого кино Джимом Джармушем переросло в настоящую дружбу и крепкое партнёрство, подарившее миру совместные музыкальные творения. С одинаковой увлечённостью Йозеф работает как с Лондонской национальной галереей, так и с шумными экспериментаторами Smegma. Являясь лауреатом Каннского кинофестиваля за музыку к вампирской драме «Выживут только любовники», он пишет композиции для игры «The Sims», а на его концерты заходит Андрей Звягинцев. В записи последнего альбома «Ex Mortis» приняли участие лидер Shortparis Николай Комягин, певица Jarboe и Тор Харрис (ex-Swans, Xiu Xiu).
Пришло время отправляться в новое пространственное измерение!
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