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聲之光,深入未知;光之聲,流向未來。
行進間,我永生的存在姿態。

邁入第三年的再壹波藝術節,今年以「捕捉一道光」,闡述音樂不停歇演進的本質,以三場音樂會分別呈現當代古典、即興演奏與歌謠創作的現在進行式,聽見音樂藝術的發展脈絡,也窺見未來音樂的基因。

 

音樂如同光之行進,它的存在即是歷史的軌跡,持續傳承著聲音美學的思考與創作的方法,《綺麗萬花筒》呈現四位新生代作曲家陳珩、高愷怡、楊祖垚與來自香港的鄺展維,分別自承襲的學派中開展出屬於自己的創作系統,再加上兩位大師作曲家勒魯(Philippe Leroux)與霍利格爾(Heinz Holliger)之近年作品,凝鍊出2010年後當代古典音樂的多重樣貌。今年起,大聲室內樂團與北藝大新音樂工作坊合作,邀請指揮暨作曲家林梅芳擔任藝術指導,透過創演合作的模式,推進當代音樂的發展與演奏人才的培育實踐,透過新世代的音樂家,延續臺灣當代音樂的光譜。

 

即興演奏自古存在於各種音樂風格中,也是嘗試新聲響的最佳途徑,對自由即興的音樂家來說,更是一種即時現地的創作。《鏡像》的二重奏Staggered Strings,由來自西方古典音樂背景的鋼琴家李世揚與中提琴家戴孜嬣組成,在跨領域藝術展演的經驗中累積豐富的臨場能力與美學思辨;亞洲連線樂團的四位音樂家-琵琶蘇筠涵、古箏吳妍萱、打擊張幼欣和笛簫林小楓則接受東西方音樂的雙軌薰陶,藉由自由即興探索樂器與聲音的可能性。兩團的音樂家以不同的編制組合與發聲條件,在向外冒險與對內傾聽的統合下,採集材料、捕捉靈光,體現對聲音的純粹想望。

同樣學習西洋古典音樂、主修聲樂,重新回望傳統歌謠的黃珮舒,找到光與光的交叉點,集結客家歌謠、流行樂與藝術歌曲的各方技法和語彙,從中折射出新的觀點與聲線,書寫歌謠的新篇章,唱出這一代女性創作者的深刻觀察與細膩情感。

再壹波藝術節貫徹「音樂風格無差別」的概念,三場音樂會看似調性相異、內容獨立,實則為一個揭秘當代音樂裡不同創作工法與聲音開發的光譜儀。聲音從四面而來,音樂往八方而去,在此斑斕交錯,從獨到的角度探照盲點,點亮真實與當下,只為捕捉未來的一道光。

策展單位暨主辦單位|捌號會所Studio Acht 

合辦單位|大聲藝術 Taiwan Musicians & Artists Promotion、Taiwan Music Showcase 

贊助單位|國家文化藝術基金會、建弘文教基金會、璞園璞永、信源企業

*「再壹波藝術節One More Festival」由國家文化藝術基金會「表演藝術國際發展專案」贊助支持

The light of sound reaches deep into the unknown,
while the sound of light extends far into the future.
In its midst, I catch a glimpse of eternity.

The 2021 One More Festival includes three music concerts with bold, distinct qualities. The theme for this year, “Catching the Light,” explores the concept of ongoing existence, which is also the history of time. The idea of light existing due to being visible becomes a metaphor for sound, which exists because it is heard. Each ray of light has its own past and continues to proceed into the unpredictable future. This is similar to the flow of music, unstopping, ongoing, and extending between you and me: some singing, some listening, some composing, and some performing, an eternity of musical notes.

 

The first concert, Kaleidoscope, will be presenting works of contemporary classical music, the most forward-thinking pieces of our times. Each work in the burgeoning scene of contemporary music has roots that can be traced back to the history of classical music, projecting infinite variations as the light of sound enters the technology and aesthetic of different times. The second concert Mirror Image stages impromptu performances of Chinese and Western musical instruments. This concert conveys the notion that the sounds in your head are not hallucinations but instead a trance induced by music. Alluding to the idea that musicians in chamber music orchestras are each other’s mirrors for imitation and learning, the expression of self and interpersonal dialogue create magical mirror images that transcend the limitations of orchestration. The third concert spotlights contemporary female vocal presentation and is centered around the contemporary Hakka ballads of HUANG Pei-shu. HUANG showcases the different variations and possibilities of ballads that vary from conventional orchestrations of popular music. By collaborating with acoustic instrumentation, the concert stages a variety of performances and portrays imageries of The Reflection of Song using the unique narrative and ambiance of ballads.

 

One More Festival will, once again, be manifesting the idea that “musical styles know no differences.” Through the staging of the three undefinable music concerts, the festival challenges you to inspect the blind spots in your love for music and guides your vision towards the future.