叶小钢教授室内乐专辑乐评于着名古典音乐杂志《留声机》刊登
近日，著名古典音乐杂志《留声机》（Gramophone）于2024年11月刊刊登了音乐评论家理查德·怀特豪斯（Richard Whitehouse）为我院院长叶小钢教授专辑Xiaogang Ye Chamber Music收录作品所撰乐评。
该专辑由英国Resonus Classics唱片公司于今年9月发行，由Fidelio Trio & Friends演奏、Thoma Kemp指挥。专辑内作品有Nine Run、Datura、Gardenia等。
以下为刊登原文及中文译文。
Xiaogang Ye Chamber Music 专辑封面
专辑收录作品
The output of Xiaogang Ye (b1955) has become relatively familiar in the West, and not just at festivals or retrospectives of new music. Numerous works have been recorded (notably by BIS and Naxos), and this Resonus release makes available more of those for chamber forces.
Despite its generic title, the Piano Trio (2008) takes its cue from the Chinese myth of Pangu with his forming heaven and earth out of chaos, as this pursues a heady and often combative interplay through to a conclusion whose iridescent textures could presage a new beginning. Here it moves into Gardenia (2017), pipa extending the timbral possibilities of string quartet in music that uses melodies associated with Yueyang city to sometimes disorientating effect. Enchanted Bamboo (1989) is already characteristic in its fastidious handling of timbre and texture as this discreetly alludes to more than a century of Western chamber composition.
Although written in instalments, there is nothing episodic or even discontinuous about Datura (2006), the title referencing a houseplant whose decorative and hallucinogenic aspects seem equally reflected by the constantly varying juxtapositions of flute with string trio. The focus on just cello and piano enables Nine Run (2001/23) to demonstrate the sheer resourcefulness of Ye's motivic thinking but also his immediacy of melodic writing at its climax, then the 10-strong ensemble of Nine Horses (1993) conveys his music at its most visceral and engrossing: qualities hardly inappropriate for a work inspired by encounters with the Peking (sic) Opera.
Only the Piano Trio has been recorded before, by the Haydn Trio. These finely attuned and recorded performances offer an ideal way into Ye's alluring sound world.
─ Richard Whitehouse
专辑内页（部分）
叶小钢（1955年出生）的作品在西方已经比较为人熟知，不仅是在音乐节或新音乐回顾展上。许多作品已被录制（尤其是叠滨厂和狈补虫辞蝉的作品），而搁别蝉辞苍耻蝉这张专辑为室内乐团提供了更多这样的作品。
尽管《钢琴三重奏》（2008）这个名字很普通，但它却从中国神话盘古开天辟地的传说中汲取灵感，追求一种令人兴奋且常常充满战斗性的互动，直至结局，其彩虹般的质感可能预示着一个新的开始。《栀子花》（2017），琵琶在音乐中扩展了弦乐四重奏的音色可能性，使用与岳阳市相关的旋律，有时会产生令人迷惑的效果。Enchanted Bamboo（1989）已经以其对音色和质感的精雕细琢而独树一帜，因为它巧妙地暗示了一个多世纪以来的西方室内乐作曲。
虽然《蔓箩》（2006）是连载作品，但它却没有任何情节性，甚至连贯性。作品名称指的是一种室内植物，其装饰性和致幻性似乎同样反映在长笛与弦乐三重奏不断变化的并置中。Nine Run（2001/23）只关注大提琴和钢琴，这不仅展示了叶问动机思维的绝对机智，也展示了他在高潮时旋律写作的即时性，然后由10人组成的《九马》（1993）传达了他音乐中最直观和最引人入胜的部分：这些品质对于一部受京剧启发的作品来说并不奇怪。
之前只有海顿叁重奏录制过《钢琴叁重奏》。这些精心调音和录制的表演为观众提供了一个进入迷人声音世界的理想途径。
——理查德·怀特豪斯
专辑与杂志
