小简介
音乐家兼作曲家Rabih Abou-Khalil是在贝鲁特的那种特殊的国际性的文化氛围的影响下度过六、七十年代的时光的。当他还是个孩子的时候，就开始学习弹奏乌得琴了。这种短柄琴是阿拉伯式的合成乐器，兼具了吉它和钢琴的音色。由于内战，Rabih Abou-Khalil被迫于1978年离开了他的祖国黎巴嫩。在慕尼黑的音乐学院，他拜Walther Theurer教授为师，开始学习吹奏古典式长笛。这种对欧洲古典音乐艺术的系统学习使他可以从理论化的角度审视阿拉伯的传统音乐，而他开阔的眼界又是他可以从两种截然不同的音乐系统中汲取营养
。Abou-Khalil并不墨守成规，而是着意于形成自己的独特风格，虽然如此，他的音乐仍然折射出了阿拉伯传统文化的影子。从充满忧伤的“Gotterdammerung”和“Punch与朱迪的琐事”中，我们可以看出，他的作品象是一首委婉的东方抒情诗，但其中又有一些令人惊喜的变化。
当大多数阿拉伯器乐演奏家满足于模仿人类声音的技巧时，Abou-Khalil已经寻找到了演奏阿拉伯音乐的新路。他不仅仅局限于拥有一定的音乐鉴赏能力，他总是努力以一种创新的渴望去探寻未知的音乐领域。他的这种创新从表面上看确实与传统的音乐形式有极大的冲突，实际上这正是Abou-Khalil的独特风格所在。他和具有不同文化背景的来自世界各地的音乐家们交流、切磋，为自己的音乐带来新的灵感。无论如何，他选择了走自己的路，他所取得的成绩已为全世界的乐迷所承认。和Abou-Khalil一起的音乐家可以充分发挥自己的创造力，而这种个人创造力和集体智慧的结合则创造出与众不同的音乐风格。
作为一名作曲家和器乐演奏家Rabih Abou-Khalil已获得了极高的评价。这不仅仅是因为他已领先于他所处的时代，更是因为他创造性的扩展了传统音乐的概念。他的种种工作都有一个共同的特点，勇敢的超越以前的界限，避免传统的束缚。由于其作品中含有多种文化元素，所以这些作品既有高度的独立性，又是有机的联系着的。
by Craig Harris
The musical traditions of the Arabic world are fused with jazz improvisation and European classical techniques by Lebanese-born oud player and composer Rabih Abou-Khalil. The CMJ New Music Report noted that Abou-Khalil has consistently sought to create common ground between the Arab music mileau of his roots and the more global musical world of today. Down Beat praised Abou-Khalils music as a unique hybrid that successfully spans the world of traditional Arabic music and jazz. Although he learned to play the oud, a fretless, Lebanese lute, as a youngster, Abou-Khalil temporarily switched to the classical flute, which he studied at the Academy of Music after moving to Munich, Germany, during the Lebanese Civil War in 1978. In an attempt to explore new ways to play Arabic music, he returned to the oud and began to incorporate techniques more often played on jazz guitar. In the early-90s, Abou-Khalil was commissioned by Southwest German radio to write two pieces that were debuted in a performance with the Kronos String Quartet at the Stuttgart Jazz Summit in 1992, and recorded with the Belanescu Quartet four years later. Abou-Khalil has worked with a mixture of Arabic, Indian, and American jazz musicians, including alto saxophonist Sonny Fortune, frame drummer and percussionist Glen Valez, conga player Milton Cardona, harmonica ace Howard Levy, and bassists Glen Moore and Steve Swallow.
小简介
音乐家兼作曲家Rabih Abou-Khalil是在贝鲁特的那种特殊的国际性的文化氛围的影响下度过六、七十年代的时光的。当他还是个孩子的时候，就开始学习弹奏乌得琴了。这种短柄琴是阿拉伯式的合成乐器，兼具了吉它和钢琴的音色。由于内战，Rabih Abou-Khalil被迫于1978年离开了他的祖国黎巴嫩。在慕尼黑的音乐学院，他拜Walther Theurer教授为师，开始学习吹奏古典式长笛。这种对欧洲古典音乐艺术的系统学习使他可以从理论化的角度审视阿拉伯的传统音乐，而他开阔的眼界又是他可以从两种截然不同的音乐系统中汲取营养
。Abou-Khalil并不墨守成规，而是着意于形成自己的独特风格，虽然如此，他的音乐仍然折射出了阿拉伯传统文化的影子。从充满忧伤的“Gotterdammerung”和“Punch与朱迪的琐事”中，我们可以看出，他的作品象是一首委婉的东方抒情诗，但其中又有一些令人惊喜的变化。
当大多数阿拉伯器乐演奏家满足于模仿人类声音的技巧时，Abou-Khalil已经寻找到了演奏阿拉伯音乐的新路。他不仅仅局限于拥有一定的音乐鉴赏能力，他总是努力以一种创新的渴望去探寻未知的音乐领域。他的这种创新从表面上看确实与传统的音乐形式有极大的冲突，实际上这正是Abou-Khalil的独特风格所在。他和具有不同文化背景的来自世界各地的音乐家们交流、切磋，为自己的音乐带来新的灵感。无论如何，他选择了走自己的路，他所取得的成绩已为全世界的乐迷所承认。和Abou-Khalil一起的音乐家可以充分发挥自己的创造力，而这种个人创造力和集体智慧的结合则创造出与众不同的音乐风格。
作为一名作曲家和器乐演奏家Rabih Abou-Khalil已获得了极高的评价。这不仅仅是因为他已领先于他所处的时代，更是因为他创造性的扩展了传统音乐的概念。他的种种工作都有一个共同的特点，勇敢的超越以前的界限，避免传统的束缚。由于其作品中含有多种文化元素，所以这些作品既有高度的独立性，又是有机的联系着的。
by Craig Harris
The musical traditions of the Arabic world are fused with jazz improvisation and European classical techniques by Lebanese-born oud player and composer Rabih Abou-Khalil. The CMJ New Music Report noted that Abou-Khalil has consistently sought to create common ground between the Arab music mileau of his roots and the more global musical world of today. Down Beat praised Abou-Khalils music as a unique hybrid that successfully spans the world of traditional Arabic music and jazz. Although he learned to play the oud, a fretless, Lebanese lute, as a youngster, Abou-Khalil temporarily switched to the classical flute, which he studied at the Academy of Music after moving to Munich, Germany, during the Lebanese Civil War in 1978. In an attempt to explore new ways to play Arabic music, he returned to the oud and began to incorporate techniques more often played on jazz guitar. In the early-90s, Abou-Khalil was commissioned by Southwest German radio to write two pieces that were debuted in a performance with the Kronos String Quartet at the Stuttgart Jazz Summit in 1992, and recorded with the Belanescu Quartet four years later. Abou-Khalil has worked with a mixture of Arabic, Indian, and American jazz musicians, including alto saxophonist Sonny Fortune, frame drummer and percussionist Glen Valez, conga player Milton Cardona, harmonica ace Howard Levy, and bassists Glen Moore and Steve Swallow.
川公网安备 51019002004889号
