来源 :广东省教育考试院 2019-12-07 09:11:33|好日子心水论谈



  Taking on the largest ice field in the Rocky Mountains, a dramatic 125-square-mile sprawl along the border between British Columbia and Alberta, the composer and trumpeter Nate Wooley has created music of disarming intimacy.

  “Columbia Icefield,” his new work for quartet, isn’t really about depicting the grandeur of nature, à la Strauss’s “Alpine Symphony.” It feels, rather, like the musings of a man encountering that grandeur, or perhaps reflecting on it in his tent in the middle of the night — a mixture of quiet exaltation, wild exaltation, melancholy, fear, curiosity, struggle to keep warm.

  Played amid chilly, windswept weather on Monday evening at Pioneer Works, the cavernous factory turned cultural center in Red Hook, Brooklyn, the primary mood of “Columbia Icefield” is loneliness. But it is also very much ensemble music, a show of togetherness in the face of dread. In its cozier moments on Monday, it seemed like the prettiest (if most progressive) campfire music ever written.

  For the project, Mr. Wooley brought together a fresh group of established avant-jazz stars: He was joined for the hourlong performance — as on a recording, just released on Northern Spy Records — by Susan Alcorn (pedal steel guitar), Mary Halvorson (guitar) and Ryan Sawyer (drums and, in a crucial section, spoken-sung vocals).

  In the opening section, “Lionel Trilling” — your guess is as good as mine (Mr. Wooley’s literary allusions become clearer in the next two parts) — relaxed repetition inevitably turns into obsession and anxiety. Gentle strums of guitar at the start quickly expose rhythms that don’t quite fit together; the drums can evoke a heart beating a little too fast.

  Moments, both for guitar and for trumpet, seemed to be winking at the famous three-note stepwise motif at the start of Strauss’s “Also Sprach Zarathustra,” the riff that scores the dawn in “2001: A Space Odyssey.” In “Columbia Icefield,” by contrast, it never quite reaches the octave: Rather than achieving a triumphant vantage, this music is modest, ambivalent. The composer’s role, Mr. Wooley suggests, is to question and imply, not to assert or proclaim.

  The second section, “Seven in the Woods,” its title drawn from a Jim Harrison poem, feels like Mr. Wooley’s aria, his playing smokily soft. When the guitars enter, it’s in an almost hymnlike spirit; fluttery guitar is answered by trumpet, and then they tumble along in tandem for a bit. With some of the words obscured by the music, as if in a snowstorm, Mr. Sawyer reads one of John Berryman’s “Dream Songs” in the final part, “With Condolences” — a shuddering, driving conclusion, and an artful balance between vastness and privacy.

  The concert was the first event in a new monthly series at Pioneer Works, False Harmonics, which promises to feature “two unique performances meant to contrast yet complement each other.” To that end, the “Columbia Icefield” artists were preceded by MV Carbon, who made a rich, ripping noise on electric cello, vocals and electronics.

  Her set was far louder and more overtly dramatic than the one that followed. But it couldn’t compete with the pristine integrity and shaggy poignancy of “Columbia Icefield,” often gloomy yet somehow never quite depressing.



  好日子心水论谈2022【年】,10【月】10【日】,【温】【暖】【的】【小】【家】。 【今】【天】【是】【温】【暖】【与】【盛】【誉】【结】【婚】【十】【周】【年】【庆】,【两】【夫】【妻】【也】【没】【准】【备】【大】【办】【特】【办】【之】【类】【的】,【一】【如】【既】【往】【的】【保】【持】【低】【调】【的】【做】【派】。 【这】【一】【天】,【誉】【暖】【两】【夫】【妻】【就】【邀】【请】【了】【他】【们】【的】【好】【友】【来】【家】【里】【做】【客】,【大】【家】【聚】【一】【聚】,【热】【闹】【下】【就】【算】【是】【庆】【祝】【了】。 【虽】【然】【大】【家】【的】【关】【系】【很】【亲】【近】,【隔】【着】【的】【距】【离】【也】【不】【算】【太】【远】,【但】【毕】【竟】【大】【家】【都】【各】

“【是】【吗】?【我】【也】【第】【一】【次】【来】,【不】【太】【清】【楚】。”【丁】【芷】【说】【道】。 【男】【子】【笑】【道】:“【你】【若】【是】【常】【来】,【我】【可】【以】【让】【这】【儿】【的】【经】【理】【带】【你】。” 【丁】【芷】【看】【着】【他】【微】【愣】。 【男】【子】【解】【释】【道】:“【我】【是】【这】【个】【商】【场】【的】【管】【理】【人】,【我】【叫】【沈】【一】【泽】。” 【丁】【芷】【微】【不】【可】【轻】【的】【点】【了】【点】【头】,【有】【听】【见】【他】【问】:“【不】【知】【道】【小】【姐】【芳】【名】【是】【什】【么】?” 【丁】【芷】【刚】【张】【着】【嘴】【巴】【开】【口】,【就】【停】【在】【上】【方】【传】

【最】【后】【吩】【咐】【了】【一】【些】【注】【意】【事】【项】【之】【后】,【卫】【青】【玄】【这】【才】【放】【心】【的】【离】【开】【了】。 【回】【来】,【则】【是】【发】【现】【金】【灵】【坐】【在】【门】【口】【修】【炼】,【一】【副】【守】【着】【他】【的】【样】【子】。 【金】【灵】【总】【是】【那】【么】【忠】【心】【耿】【耿】,【卫】【青】【玄】【在】【心】【里】【面】【想】【到】。 【正】【当】【卫】【青】【玄】【准】【备】【回】【到】【内】【室】,【好】【好】【地】【睡】【一】【觉】【的】【时】【候】,【有】【一】【个】【熟】【悉】【的】【人】【到】【访】,【他】【只】【好】【将】【瞌】【睡】【虫】【给】【打】【掉】【了】。 【来】【的】【人】,【是】【红】【莲】。 【这】【下】【就】

  【古】【老】【的】【房】【间】。 【犬】【神】【看】【着】【面】【前】【的】【场】【景】,【女】【人】【静】【静】【的】【躺】【在】【床】【上】,【而】【那】【个】【胖】【男】【人】【则】【坐】【在】【床】【边】,【深】【情】【的】【看】【着】【床】【上】【的】【女】【人】。 【看】【到】【犬】【神】【破】【门】【而】【入】,【胖】【男】【人】【连】【忙】【站】【了】【起】【来】,【然】【后】【在】【房】【间】【里】【的】【柜】【子】【里】【的】【翻】【找】【了】【起】【来】。 “【想】【找】【武】【器】【吗】?” 【犬】【神】【问】【道】。 【之】【前】【的】【时】【候】,【那】【个】【司】【机】【离】【开】【的】【时】【候】,【说】【过】【武】【器】【之】【类】【的】【东】【西】。 【虽】好日子心水论谈【千】【机】【默】【然】【攥】【住】【他】【的】【手】【往】【脸】【上】【放】,【嘴】【唇】【颤】【抖】,【眼】【泪】【不】【断】【涌】【出】【来】,【锥】【心】【刺】【骨】【的】【疼】【窜】【上】【她】【心】【口】,【泪】【珠】【落】【到】【帝】【铭】【脸】【上】,【她】【的】【手】【紧】【紧】【抓】【住】【他】【的】【手】,【感】【受】【着】【他】【的】【温】【热】,【感】【觉】【下】【一】【刻】【就】【要】【消】【失】【不】【见】, “【乖】,【松】【手】【吧】……”【帝】【铭】【嘴】【里】【又】【吐】【出】【一】【口】【鲜】【血】,【灵】【脉】【在】【此】【刻】【尽】【数】【断】【裂】,【看】【来】【要】【离】【开】【了】, 【千】【机】【默】【然】【眼】【底】【惊】【恐】,【一】【刻】【也】【不】【停】【的】【摇】

  【当】【时】【凤】【榻】【两】【侧】【炉】【灰】【暖】,【裙】【畔】【椅】【旁】【柱】【氲】【香】,【可】【正】【拈】【玉】【箸】【拨】【着】【红】【碳】【的】【女】【史】,【听】【见】【颢】【蓁】【刻】【意】【加】【重】【的】【四】【个】【字】,【都】【不】【免】【心】【凉】,【放】【缓】【手】【中】【活】【计】,【静】【待】【杨】【太】【后】【开】【口】。 【杨】【太】【后】【冷】【冷】【瞧】【向】【颢】【蓁】,【她】【实】【在】【看】【不】【出】【皇】【后】【一】【次】【次】【当】【众】【对】【太】【后】【发】【难】【的】【原】【因】。【毕】【竟】【赵】【祯】【与】【颢】【蓁】【的】【关】【系】【并】【不】【融】【洽】,【她】【为】【何】【还】【有】【这】【个】【胆】【子】,【或】【说】【她】【究】【竟】【是】【为】【着】【谁】【在】【频】【频】【作】


  【整】【个】【现】【场】【瞬】【间】【为】【之】【凝】【滞】! 【震】【撼】! 【惊】【诧】! 【同】【时】【还】【有】【其】【他】【的】【情】【绪】【顿】【时】【将】【这】【里】【充】【斥】。 【前】【后】【短】【短】【几】【个】【呼】【吸】【的】【时】【间】【里】,【将】【一】【名】【长】【生】【境】【巅】【峰】【的】【高】【手】【翻】【手】【灭】【杀】,【连】【神】【魂】【都】【来】【不】【及】【逃】【脱】,【这】【种】【实】【力】,【这】【种】【手】【段】,【简】【直】【令】【人】【心】【惊】。【宛】【如】【真】【仙】【在】【世】。 【在】【场】【的】【任】【何】【一】【人】【扪】【心】【自】【问】【都】【绝】【对】【做】【不】【到】【这】【一】【点】。【除】【非】【是】【渡】【过】【天】【人】【五】【衰】

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