Gary Karr
夢枯記028 Gary Karr | J. S. Bach : Solo Suites-Complete
16 10. 13 16:13
contrabass solo／cd／king record／2005
http://www.garykarr.com
【Yumegareki 028】
It is not just a unique sound of Bach. It’s a performance of a powerful fermentation of the mass of memories, rushing toward now, depriving its space, and scattering it to all directions. Gary Karr recorded this album in his home studio. His performance of Bach demonstrates a refined sense of freedom and pleasure supported by the origin of a natural and happy time. I was able to listen to it by immersing myself in the relationship between the people and the world.
Vladimir Jankélévitch said in his book titled “De La Musique Au Silence - Fauré Et L'inexprimable” that music is something that goes beyond words and that its appeal is a longing for eternity. I was embraced by an indescribable attraction of music and its unique aroma. I felt solitary and a subtle happiness as I secretly explored this nameless world. I went back to the moments when I was with my daughter in a nearby mountain village and when we went out to see a Kabuki performance played by children in a shrine. The world around us must be dense but remains mystery to us. Still, it embraces the inexpressible musical virtue at its bottom.
I finished listening to the last piece, No. 6. Before I knew it, the sky had changed its color to red and winds were blowing through the bamboo trees. In this glorious moment, I was standing at the intersection between eternity and moment. It is such a wonderful place created by time through a continuous fermentation of music. My daughter sometimes asks me why the earth rotates. I cannot answer to her question, but I feel delighted. This is also quite difficult to express in words. No. 6 and each allemande are filled with such musical mystery.
「私がバッハから教えられたことを最もよく表現できる場所は、私の家である。私のスタジオの窓や海や島々、そして雪をかぶった山々を眺める時には、世界と、そしてバッハとひとつになったと感じる。それが、この穏やかな周辺に面した私自身の家で、この組曲を録音することにきめた理由である。」 Gary Karr
聴いている耳が、音についていきながら前の音の記憶の響きをたどり、その記憶を反芻するように今の音が混在して聴こえてきた。バッハの音楽がそのような響きをつたうようにできているからか、それがチェロよりも弦の長いコントラバスだからか、というふうにお決まりのようないつもの耳で聴き始めていたのだが、音を聴いてからすぐさま色々な記憶がやってくるのだった。押し寄せる今の、その追憶の塊のようなものに襲われ、場があらゆる方向に力強く発酵されていく演奏だ。バッハの無伴奏チェロ組曲を聴くときそれがどんな楽曲で、どのようにできているのか…もっと読む... Read more...
http://www.garykarr.com
【Yumegareki 028】
It is not just a unique sound of Bach. It’s a performance of a powerful fermentation of the mass of memories, rushing toward now, depriving its space, and scattering it to all directions. Gary Karr recorded this album in his home studio. His performance of Bach demonstrates a refined sense of freedom and pleasure supported by the origin of a natural and happy time. I was able to listen to it by immersing myself in the relationship between the people and the world.
Vladimir Jankélévitch said in his book titled “De La Musique Au Silence - Fauré Et L'inexprimable” that music is something that goes beyond words and that its appeal is a longing for eternity. I was embraced by an indescribable attraction of music and its unique aroma. I felt solitary and a subtle happiness as I secretly explored this nameless world. I went back to the moments when I was with my daughter in a nearby mountain village and when we went out to see a Kabuki performance played by children in a shrine. The world around us must be dense but remains mystery to us. Still, it embraces the inexpressible musical virtue at its bottom.
I finished listening to the last piece, No. 6. Before I knew it, the sky had changed its color to red and winds were blowing through the bamboo trees. In this glorious moment, I was standing at the intersection between eternity and moment. It is such a wonderful place created by time through a continuous fermentation of music. My daughter sometimes asks me why the earth rotates. I cannot answer to her question, but I feel delighted. This is also quite difficult to express in words. No. 6 and each allemande are filled with such musical mystery.
「私がバッハから教えられたことを最もよく表現できる場所は、私の家である。私のスタジオの窓や海や島々、そして雪をかぶった山々を眺める時には、世界と、そしてバッハとひとつになったと感じる。それが、この穏やかな周辺に面した私自身の家で、この組曲を録音することにきめた理由である。」 Gary Karr
聴いている耳が、音についていきながら前の音の記憶の響きをたどり、その記憶を反芻するように今の音が混在して聴こえてきた。バッハの音楽がそのような響きをつたうようにできているからか、それがチェロよりも弦の長いコントラバスだからか、というふうにお決まりのようないつもの耳で聴き始めていたのだが、音を聴いてからすぐさま色々な記憶がやってくるのだった。押し寄せる今の、その追憶の塊のようなものに襲われ、場があらゆる方向に力強く発酵されていく演奏だ。バッハの無伴奏チェロ組曲を聴くときそれがどんな楽曲で、どのようにできているのか…もっと読む... Read more...