Rabih Abou-Khalil

小簡(jiǎn)介
??
音樂(lè)家兼作曲家Rabih Abou-Khalil是在貝魯特的那種特殊的國(guó)際性的文化氛圍的影響下度過(guò)六、七十年代的時(shí)光的。當(dāng)他還是個(gè)孩子的時(shí)候，就開(kāi)始學(xué)習(xí)彈奏烏得琴了。這種短柄琴是阿拉伯式的合成樂(lè)器，兼具了吉它和鋼琴的音色。由于內(nèi)戰(zhàn)，Rabih Abou-Khalil被迫于1978年離開(kāi)了他的祖國(guó)黎巴嫩。在慕尼黑的音樂(lè)學(xué)院，他拜Walther Theurer教授為師，開(kāi)始學(xué)習(xí)吹奏古典式長(zhǎng)笛。這種對(duì)歐洲古典音樂(lè)藝術(shù)的系統(tǒng)學(xué)習(xí)使他可以從理論化的角度審視阿拉伯的傳統(tǒng)音樂(lè)，而他開(kāi)闊的眼界又是他可以從兩種截然不同的音樂(lè)系統(tǒng)中汲取營(yíng)養(yǎng)
。Abou-Khalil并不墨守成規(guī)，而是著意于形成自己的獨(dú)特風(fēng)格，雖然如此，他的音樂(lè)仍然折射出了阿拉伯傳統(tǒng)文化的影子。從充滿憂傷的“Gotterdammerung”和“Punch與朱迪的瑣事”中，我們可以看出，他的作品象是一首委婉的東方抒情詩(shī)，但其中又有一些令人驚喜的變化。
　　當(dāng)大多數(shù)阿拉伯器樂(lè)演奏家滿足于模仿人類(lèi)聲音的技巧時(shí)，Abou-Khalil已經(jīng)尋找到了演奏阿拉伯音樂(lè)的新路。他不僅僅局限于擁有一定的音樂(lè)鑒賞能力，他總是努力以一種創(chuàng)新的渴望去探尋未知的音樂(lè)領(lǐng)域。他的這種創(chuàng)新從表面上看確實(shí)與傳統(tǒng)的音樂(lè)形式有極大的沖突，實(shí)際上這正是Abou-Khalil的獨(dú)特風(fēng)格所在。他和具有不同文化背景的來(lái)自世界各地的音樂(lè)家們交流、切磋，為自己的音樂(lè)帶來(lái)新的靈感。無(wú)論如何，他選擇了走自己的路，他所取得的成績(jī)已為全世界的樂(lè)迷所承認(rèn)。和Abou-Khalil一起的音樂(lè)家可以充分發(fā)揮自己的創(chuàng)造力，而這種個(gè)人創(chuàng)造力和集體智慧的結(jié)合則創(chuàng)造出與眾不同的音樂(lè)風(fēng)格。
　　作為一名作曲家和器樂(lè)演奏家Rabih Abou-Khalil已獲得了極高的評(píng)價(jià)。這不僅僅是因?yàn)樗杨I(lǐng)先于他所處的時(shí)代，更是因?yàn)樗麆?chuàng)造性的擴(kuò)展了傳統(tǒng)音樂(lè)的概念。他的種種工作都有一個(gè)共同的特點(diǎn)，勇敢的超越以前的界限，避免傳統(tǒng)的束縛。由于其作品中含有多種文化元素，所以這些作品既有高度的獨(dú)立性，又是有機(jī)的聯(lián)系著的。
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.