توجه ! این یک نسخه آرشیو شده میباشد و در این حالت شما عکسی را مشاهده نمیکنید برای مشاهده کامل متن و عکسها بر روی لینک مقابل کلیک کنید : Silk Road Project

Thursday 21 February 2008, 10:34 AM

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Kayhan Kalhor (left) and Siamak
Jahangiri perform as part of 'Silk Road Perspectives: A Musical Conversation with the Silk Road Ensemble.' Yo-Yo Ma (right), founder of the Silk Road Project, joins in the music-making at Lowell Hall. (Staff photos Stephanie Mitchell/Harvard News Office)

Silk Road Ensemble re-establishes ancient ties

By Ken Gewertz

Harvard News Office

They say music is the universal language. The Silk Road Project offers proof.

Silk Road Ensemble performance video:
- Real (rtsp://video2.harvard.edu/newsoffc/silkroad.rm) /Quicktime (You can see links before reply)

Founded in 1998 by cellist Yo-Yo Ma '76, the Silk Road Project takes its
name and inspiration from the ancient trade routes that once linked the people and traditions of Asia with those of Europe. Ma has resurrected those linkages by bringing together musicians, composers, dancers, storytellers, and others from the cultures that once traded goods and ideas along those routes. The aim of the project, in Ma's words, is "to plant the seeds of new artistic and cultural growth, and to celebrate living traditions and musical voices throughout the world."
On Tuesday (Sept. 27), members of the Silk Road Ensemble, representing the musical traditions of Persia and the West, performed and fielded questions at an event sponsored by the Office for the Arts' Learning from Performers program. The event was part of the ensemble's weeklong residency at Harvard.
After a short introduction by moderator Kay Shelemay, the G. Gordon Watts Professor of Music and professor of African and African American studies, violinists Jonathan Gandelsman and Colin Jacobsen joined Ma for a rendition of two traditional Rroma melodies. Percussionist Shane Shanahan provided a muted accompaniment on a cajon, a boxlike instrument used in Latin American music.
You can see links before reply Jonathan Gandelsman (left) and Nicholas Cord perform.

Afterward, Shelemay started off the Q&A period by asking, "What's it like being a member of the Silk Road Project?"
"What it's taught me about the cross-cultural musical experience," said violist Nicholas Cords, "is that you can't approach it from the outside. You've got to start with at least one foot in the circle."
Kayhan Kalhor, an Iranian composer and a virtuoso on the kamancheh, an instrument related to the violin, said, "Being a musician in every culture is basically the same. Playing with the Silk Road Ensemble has taught me how to approach different kinds of music. It's like learning different languages."
Some of the musicians described the rewards of studying the music of another culture.
Siamak Aghaei, an Iranian musician who plays the santur, a type of hammered dulcimer, said that learning about Western music has helped him to gain greater mastery of his own musical tradition.
Ma called the experience of working with non-Western musicians, "the most wonderful learning curve."
Gandelsman put it even more succinctly: "The ear opens and the heart opens."
Aghaei, Kalhor, and a third Iranian musician, Siamak Jahangiri, a master of the ney, an end-blown bamboo flute, played an example of traditional Persian improvised music.
"We don't know where we're going to go," said Kalhor. "We will limit ourselves to 10 minutes, but all we know is the scale the santur is tuned in."
The piece that resulted was haunting and melancholy, marked by insistent, repetitive phrases, with each of the instrumentalists taking solos in the manner of jazz musicians.
Afterward, Gandelsman remarked on the difference between the Persian and Western approaches to performing.
"My experience with Persian music is of being gently pulled in. It seems that what you do when you perform is you try to pull the audience into the music. The Western approach, I think, is to bring the music out."
There was some discussion of what to call the kind of music the Silk Road Project has been producing.
"I'm not sure if there are any definitions for this kind of music yet. Would you call it world music? We are struggling with that - how it should be categorized - if it should be categorized."
"I don't know if there is a need to categorize," said Ma. "What we're trying to do is learn enough about these traditions to allow them to live in different places. It's nice not to have a term for it."

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Friday 22 February 2008, 02:31 AM
باتشکر فراوان از شما
یه در خواست داشتم. حتما میدونید که آلبوم جدید گروه جاده ی ابریشم در آمریکا منتشر شده .فکر میکنم اسمش هم ناممکن های ممکن هستش.
خواستم بگم احیانا این آلبوم رو تهیه کردید یا چیزی از اون شنیدید؟ با تشکر مجدد.

Friday 22 February 2008, 12:18 PM
New Impossibilities

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Yo-Yo Ma Brings Us New Impossibilities - A New Release Featuring Silk
Road Project and Chicago Symphony Orchestra

New Impossibilities, a new live recording by Sony Classical featuring multiple-Grammy-Award-winning cellist Yo-Yo Ma, the Silk Road Ensemble, the Chicago Symphony Orchestra and conductor Miguel Harth-Bedoya, will be released on July 31. The recording is the result of “Silk Road Chicago,” the first city-wide year-long residency spearheaded by the Silk Road Project, the organization founded by Ma as a catalyst for promoting innovation and learning through cross-cultural and interdisciplinary partnerships. The Silk Road Project partnered with the Chicago Symphony Orchestra, the Art Institute of Chicago, the Chicago Department of Cultural Affairs and the Chicago Office of Tourism from June 2006 to June 2007 in a program of exhibitions, concerts, workshops, readings, films, dance performances and educational events. The new recording captures some of the concert highlights of “Silk Road Chicago.”

On April 15 and 20, 2007, Ma and the Ensemble interpreted tradition-based and/or newly composed works inspired by the historic splendors of the Silk Road. The Chicago Symphony Orchestra joined them on April 12, 13 and 17 for the world premiere of Ambush From Ten Sides for Pipa, Sheng, Guitar, Cello and Orchestra, an orchestral suite which depicts the fierce battle between the kingdoms of Han and Chu that led to the founding of the Han Dynasty. The title New Impossibilities refers to Mark Twain’s description in Life on the Mississippi of the bracing energy and wide-open embrace of diversity that has always characterized the great city of Chicago and its people. It also reflects the Silk Road Project’s vision of connecting the world’s neighborhoods by bringing together artists and audiences around the globe.

Later this season, the Chicago Symphony Orchestra will also release a disc on their new in-house label CSO Resound that showcases the symphonic repertoire highlighted as part of Silk Road Chicago. The CD, which was recorded live during performances in April at Symphony Center, features Yo-Yo Ma and the Silk Road Ensemble in collaboration with the CSO under the direction of Miguel Harth-Bedoya on works by composers such as Bloch, Sharav, Harrison, and Prokofiev
When Yo-Yo Ma founded the Silk Road Project in 1998, even he could not have imagined its eventual impact. Like the ancient pan-Asian trade route for which it was named, the Project links the East and West. But rather than spices, carpets and rich fabrics, the Silk Road Project showcases the equally intricate beauty of several centuries-worth of single and intersecting arts traditions. Meanwhile, the Silk Road Ensemble has explored folkloric and classical music styles from Iran, Armenia, Tajikistan, Uzbekistan, Azerbaijan, Kazakhstan, Mongolia, China, Korea, Japan, India and Turkey and new Silk Road Project-commissioned works by emerging composers from the above and other nations. Through nearly a decade of warmly inclusive adventures, Ma and his team of legendary virtuosi have charmed audiences of all ages and backgrounds, demystifying unfamiliar and sometimes enigmatic cultures and creating opportunities for positive face-to-face encounters during an era that sorely needs them.

The present disc commences with Rabih Abou-Khalil’s Arabian Waltz, a sexy, poly-rhythmic piece that gives the Ensemble’s string players, including a Persian kamancheh spike fiddle and a plucked Chinese pipa, plus a Japanese shakuhachi flute, a vigorous workout. Next is the Night of the Flying Horses. Composed by Osvaldo Golijov, the three movements are redolent of Eastern European and Roma (Gypsy) themes and feature the shakuhachi and sheng, a Chinese mouth organ. Hai-Hai Huang’s Galloping Horses is a merrily witty sonic picture of Mongolian wild steeds on the move, with solos for pipa and double bass. Track four, the muscularly atonal, impressionistic Song of Eight Unruly Tipsy Poets, was composed by Chinese-born Zhou Long, who is now based in the USA. Kayhan Kalhor is a renowned exponent of the kamancheh and a noted composer. His The Silent City, scored for strings and percussion, is an elegy for the town of Halabja in Iraqi Kurdistan, which was destroyed in 1988. Shristi, a work by famed tabla (Indian tuned drum) master Sandeep Das, depicts the Hindu god Shiva Nataraj and his drum in the act of creating the universe. On the world premiere of Ambush From Ten Sides, a Chinese traditional melody is arranged by Li Cang Sang and China Magpie into six sweepingly cinematic visions of war and its aftermath. The album concludes with Vocussion, a Silk Road audience favorite in which the five Ensemble members who created it explode into vocal percussion effects.

The Silk Road Project is featured on Sony Classical’s Web site at You can see links before reply and on Yo-Yo Ma’s artist domain at You can see links before reply Additional information -- such as background on the performers and their instruments, plus concert schedules -- can be found on the Silk Road Project Web site at You can see links before reply
An Intimate Journey through the music of Yo-Yo Ma, the popular podcast series featuring interviews with him discussing his life and career, continues with exclusive interviews with members of the Silk Road Ensemble as they discuss the recording of New Impossibilities. The podcast can be accessed via the podcast section of Mr. Ma’s official website,
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در این کار قطعه شهر خاموش ساخته کیهان کلهر نیز اجرا شده است.

Silk Road Ensemble artists on this recording

Nicholas Cords (You can see links before reply) - viola
Sandeep Das (You can see links before reply) - tabla
Jonathan Gandeslman (You can see links before reply) - violin
Joseph Gramley (You can see links before reply) - percussion
Colin Jacobsen (You can see links before reply) - violin
Eric Jacobsen (You can see links before reply) - cello
Kayhan Kalhor (You can see links before reply) - kemancheh
Dong-Won Kim (You can see links before reply) - jang-go
Liu Lin (You can see links before reply) - guitar
Yo-Yo Ma (You can see links before reply) - cello
Wu Man (You can see links before reply) - pipa
Shane Shanahan (You can see links before reply) - percussion
Mark Suter (You can see links before reply) - percussion
Wu Tong (You can see links before reply) - sheng, bawu, xun
Kojiro Umezaki (You can see links before reply) - shakuhachi
Yang Wei (You can see links before reply) - pipa
DaXun Zhang (You can see links before reply) - bass

Monday 25 February 2008, 11:13 AM
dear leon,thanks a lot for your good topic .was very nice.tks again and best regards

Friday 26 September 2008, 01:51 PM
دانلود New Impossibilities

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New Impossibilities

Yo-Yo Ma(Silk Road Ensemble)

Composer: Rabih Abou-Khalil, Osvaldo Golijov, Huang Hai-huai, Zhou Long, Sandeep Das,
Kayhan Kalhor, Traditional
Performer: Kojiro Umezaki, Yo-Yo Ma, DaXun Zhang, Yang Wei, Kayhan Kalhor,
Sandeep Das, Joseph Gramley, Mark Suter, Shane Shanahan, Kim Dong-Won
Conductor: Miguel Harth-Bedoya
Orchestra/Ensemble: The Silk Road Ensemble, Qi Lin, Chicago Symphony Orchestra

01 -Arabian Waltz - 07:36
02 - Night of the Flying Horses Suite - 06:50
03 - Galloping Horses - 01:57
04 - Song of Eight Unruly Tipsy Poets - 07:22
05 - Shristi - 07:42
06 - The Silent City - 22:16
07 - Ambush from Ten Sides - 12:09
08 - Vocussion - 08:15

لینک دانلود

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