介紹好詳細的文章..
真是多謝..幸福兄啦!
不過,又產生了敗家的念頭了,
真是兩難..

如果各位有看75屆奧斯卡頒獎典禮
應該對來自巴西Caetano Veloso與墨西哥的Lila Downs合唱的Burn it blue印象深刻才是

由Elliot Goldenthal主導配樂工作的揮灑烈愛電影原聲帶
是我覺得近年來最出色的一張電影原聲帶
(同時獲得金球獎與奧斯卡獎最佳配樂的雙重肯定)

24首曲目中，14首由Goldenthal作曲(包含了主題曲Burn it blue)
13首配樂加上11首歌曲，組合了一個風格強烈又特殊的電影音樂

配樂的部分，我個人文學造詣不高，實在很難形容出來
從網路上找到"孽子配樂座談會<范宗沛vs藍祖蔚>"的資料
將裡面兩位專家談到這部電影音樂的部分，轉貼過來
(資料來源http://www.wind-records.com.tw/pers...news/index2.htm)
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范宗沛

談到電影配樂，「揮灑烈愛」的音樂很棒，像這種墨西哥或拉丁語系的音樂，是比較悲傷但又有點快樂的那種感覺。你可以把它想成是一種美，但也是一種悲，它是同時存在的。不過你注意看，它還是被畫面切掉了，有時音樂的情緒還沒走完，畫面換了就跟著被切斷，不過那部電影色彩太多了，很多人一定來不及去聽音樂。
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我發現「揮灑烈愛」的音樂有一個特色，當它在講故事的時候，就用它們傳統的樂句，當它講到意識型態時，音樂會變成電子音樂，會有合成的聲音進來。這兩條線，用合成器與民族樂器將之區隔得很清楚。當她進入自己的想像空間時，就會有很強的電子樂進來，民族音樂會變得很弱，電子音樂就一直持續。




藍祖蔚
當你看「揮灑烈愛」的時候，基本上，音樂就能夠讓你看到那個年代，看到墨西哥人生長的時代背景。所以，這個地域特色是很重要的。更多時候，主角芙烈達在身體的困境上，在生長的慾望裡掙扎的時候，必須透過熟悉的西班牙歌曲，或墨西哥音樂所流動的風格裡，展現一個左翼女青年掙扎女性的自主權利，以及情慾自主的力量，角色人物其實是音樂的另外一個特質。這配樂至少做到，你不會被誤導到中東，非洲或是阿拉伯去，可以聽到很標準的當地色彩。這是「揮灑烈愛」最大的成就。這也是電影音樂的另外一個功能，它基本上貼和著角色，人物，劇情來創作這樣一個功能。

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歌曲的部分，找來Lila Downs、Los Conjolites、Chavela Vargas、Elpoder Del Norte....等人，連莎瑪海耶克也下海唱了一曲
這些歌曲聽了讓人雞皮哥瘩掉滿地....超動聽(CD裡面有翻譯為英文的歌詞)
歌手真摯的感情直接又強烈的表達
吉他與豎琴撩撥，撥亂了平靜的風



我覺得這張原聲帶，最棒的就是，可以從電影中獨立抽出來聆聽
就算沒看過電影，也不會有無法融入之感



我自己認為這張聲音非常發燒，特別是配樂的部分
空間感、定位以及細節都非常好
我想即使是音響發燒友也該找這張來聽聽..........強調一下，這是個人看法

本張專輯由德國知名古典廠牌Deutsche Grammophon出品
所以聲音要差，也不是那麼容易

此張原聲帶為Enhanced cd，有幕後以及配樂者訪談影音檔案
以及導演與配樂者的文字訪談

墨西哥除了玉米餅外
音樂也具有獨特的魅力
可惜台灣少有引進墨西哥的音樂


介紹一位台灣可以買到其作品的近代古典音樂家--Carlos Chavez(1899-1978)

這一張拉丁美洲打擊樂，由馬塔指揮，泛美室內樂團與墨西哥打擊月四重奏。
響韻唱片發行(唱片業這麼不景氣，這張不知道還有沒有賣，想買的最好打電話去問)


響韻唱片對這張的介紹:
卡洛•夏維茲是墨西哥有史以來最偉大的作曲家，對整個墨西哥文化生活影響甚鉅。他以指揮家身份創立了墨西哥交響樂團，延攬一流音樂家如亨德密特、史特拉文斯基、米堯等客席指揮或演出。作曲類型涵蓋廣闊：室內樂、交響曲、歌劇、芭蕾、劇樂等，他成長於祖國尋求民族本源、國家認同的年代，因而對故國的歷史起源十分著迷，他以去除感性。簡單的旋律設計風格創立自己獨特的音樂語言，也是對當時歐洲強勢影響的一種反動。.........

轉貼All Classical Guide對Calos的介紹
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Carlos Ch&aacute;vez was probably the most important Mexican composer of the twentieth century. Known for his seven symphonies, the ballets La hija de Colquide (The Dark Meadow), and Toxcatl -- which uses his popular 1947 Toccata for percussion -- his concertos for piano and violin (one each) and the four Soli (the third for orchestra and soloists and the others for winds), he was a composer who generally did not follow trends and fared better in purely orchestral or instrumental music. While Ch&aacute;vez's style is sometimes not recognizable as Latin, as it can often sound Stravinskyan and Neo-Classical, folk elements of Aztec and Mexican music rarely stay dormant for long, with their colorful rhythms, exotic percussion and characterful themes. Ch&aacute;vez also wrote two books, one of which was the influential Toward a New Music: Music and Electricity, from 1932.
Ch&aacute;vez's father died when he was three, but he and his five other siblings were generally well cared for by their mother, who was a school teacher. He studied piano with Asuncion Parra, having already developed a measure of proficiency from lessons in his early childhood from an older brother. Young Carlos advanced rapidly and by the age of eleven began studies with Ponce. While he received instruction only on piano during his early years, Ch&aacute;vez began to study instrumentation on his own. Throughout his career, in fact, he continued this practice: his copies of Beethoven's and Brahms' symphonies, for instance, contained all sorts of notations in his hand.

At 15, Ch&aacute;vez became a pupil of Ogazon and a year later took some instruction from Fuentes in harmony. Among his first important works was the Piano Sextet (1919), whose piano part he performed at its 1921 premiere. That same year Ch&aacute;vez began work on his Aztec ballet El fuego Nuevo, on a government commission.

Ch&aacute;vez married Otilia Ortiz in September, 1922, then traveled to Europe and the United States with his bride over the next several years, finding the culture of the latter much more to his liking. In fact, he made many subsequent trips there and even lived in New York City from 1926 to 1928, where he developed friendships with Copland, Var&egrave;se and other important figures of the day. His only opera, The Visitors, would be premiered in New York in May 1957.

In 1924, Ch&aacute;vez began writing music articles for El universal, a Mexico City newspaper, and he continued to do so for most of the rest of his life. He also had developed ties in politics by now and soon received important appointments: directorship of the National Conservatory came in 1928; and in 1933 he took up the reins at the Public Education's fine arts department. But he remained busy composing during these years, too, completing his ballet Caballos de vapor in 1932 and turning out his first (1933) and second (1935 - 1936) symphonies, as well as many other works.

In 1947, Ch&aacute;vez helped establish Mexico's National Institute of Fine Arts. He made a return trip to Europe two years later, but still found its culture of no great appeal to his sensibilities. Over the next two decades he composed more symphonies (his seventh coming in 1960 and his sixth in 1961), many songs, and chamber works. In 1958-59, he served as Charles Eliot Norton Chair of Poetics at Harvard University. In the 1970s, Ch&aacute;vez's inspiration seemed to vanish, as he produced no significant new work
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前述所提指揮家馬塔(Eduardo Mata，1942-1995)也是墨西哥相當著名的指揮家。


艾都瓦多•馬塔出生於墨西哥音樂世家，就讀於墨西哥音樂學院期間，先後師從拉丁美洲重要作曲家夏維茲和歐朋學習作曲。1977年至1993年期間擔任美國達拉斯交響樂團總監，在他積極領導之下，樂團演奏水準大幅提升，演奏曲目大為拓展，樂俱全美六大樂團之一。馬塔的音樂最為人稱頌的是，他能讓樂團發出如歐洲古老樂團般豐潤、華燦的弦樂光澤，他花了八年的時間，才評選出滿意的樂團首席及各部首席。1993年馬塔受封為達拉斯交響樂團首位榮譽終生指揮，以表彰其傑出成就。馬塔雖曾為RCA及PROARTE錄音，卻未能留下傳世之作，他在DORIAN有16張錄音，歐美主要音樂雜誌的樂評人，相繼將他和各指揮大師比較，並給予最高評價，特別是拉丁美洲音樂系列，咸認是空前的巔峰代表作，確立他大師的地位。.....
(資料來源:響韻唱片)

作品表:
http://www.allclassical.com/cg/acg....&sql=1:39163~PD||1525#CREDITS

還是一句話，這些cd台灣是否還能找到，恐怕要靠點運氣
最好是打電話問唱片公司

響韻的東西是不用問了,答案一定是要人去店家找!!

想要的人就多跑幾家吧...