Trans-Siberian Orchestra was formed in 1996 by Paul O'Neill who immediately approached long time friends and collaborators Robert Kinkel and Jon Oliva to form the core of the writing team.
While producing and writing for a number of years with various rock groups Paul was always looking for ways to make the music have greater and greater emotional impact. He tried to write the music that was so melodic it didn't need lyrics. And lyrics that were so poetic that they didn't need music but once you put the two of them together, the sum of the parts would be greater than the whole, and you couldn't imagine them apart. Once he'd done this, he was still looking for a way to take it to even greater heights and he realized that putting the songs within the context of a story would give it a third dimension that wou ld make that additional emotional impact possible.
Hence, he started writing not just albums, but rock operas.
He realized then, that there was an inherent problem recording rock operas within the standard rock and roll band makeup. Rock operas by their nature need the voices to change as the characters change. Rock bands normally only have one (or if you're lucky) two great vocalists to work with, therefore limiting how far you can go. You're forced to make the music fit the band, as opposed to allowing the music to go wherever it needs to.
With Trans-Siberian Orchestra, first the music is created with no artificial limitations, and then we seek out within the classical, rock, Broadway and R & B worlds, the very best singers and musicians to bring each song to life. This also in many ways forces us to operate on a higher level. This environment has the additional benefit of causing a cross pollenization of musical ideas, creating hybrid forms of music that normally never would have occurred, such as an R&B singer doing a classical style melody and bringing gospel touches to it that causes it to glitter in ways that even the creators could not have predicted. Another very important aspect in the creation of the band, is that there could be no limits on the members; we mix all races and ages.
The young get to mine the experience of the old musicians, while they can't help to be inspired by the enthusiasm of people just entering the business. This has created a vast constantly changing musical group that even we do not know what it is going to do next.
Once when asked what Trans-Siberian Orchestra was about, Paul O'Neill replied, "It's about creating great art. When asked to define what great art was, Paul said, "The purpose of art is to create an emotional response in the person that is exposed to that art. And there are three categories of art; bad art, good art and great art. Bad art will elicit no emotional response in the person that is exposed to it, i.e.; a song you hear in an elevator and it does nothing to you, a picture on a wall that gives you the same emotional response as if the wall had been blank, a movie that chews up time. Good art will make you feel an emotion that you have felt before; you see a picture of a forest and you remember the last time you went fishing with your dad, you hear a song about love and you remember the last time you were in love. Great art will make you feel an emotion you have never felt before; seeing the pieta, the world famous sculpture by
Michelangelo, can cause someone to feel the pain of losing a child even if they've never had one. And when you're trying for these emotions the easiest one to trigger is anger.
Anyone can do it. Go into the street, throw a rock at someone, you will make them angry. The emotions of love, empathy and laughter are much harder to trigger, but since they operate on a deeper level, they bring a much greater reward.
这首音乐出自专辑：《The Lost Christmas Eve》
乐团成员：
Vocals
Steve Broderick
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Guitar
Chris Caffery
Vocals
Jennifer Cella
Guitar
Angus Clark
Vocals
Tommy Farese
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Narrator
Tony Gaynor
Vocals
Kristin Gorman
Vocals
Heather Gunn
Vocals
Erin Henry
Vocals
Steena Hernandez
Narrator
Bryan Hicks
Vocals
Kelly Keeling
Keyboards
Mee Eun Kim
Keyboards
Bob Kinkel
Vocals
Danielle Landherr
Vocals
Guy LeMonnier
Vocals
James Lewis
Vocals
Tany Ling
Keyboards
Jane Mangini
Vocals
Max Mann
Bass
John Lee Middleton
Drums
John O. Reilly
String Mstr.
Anna Phoebe
Vocals
Jay Pierce
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Guitar
Al Pitrelli
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Drums
Jeff Plate
Vocals
Bart Shatto
Vocals
Peter Shaw
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Guitar
Alex Skolnick
Keyboards
Derek Wieland
String Mstr.
Mark Wood
Bass
Dave Z
在线试听：
视频下载地址:
http://www.56.com/n_v197_/c21_/2 ... 00_/0_/16204631.swf
歌词：
This Night
We Pray
Our Lives Will Show
This Dream He Had
Each Child
Still Knows
We're Waiting
We Have Not Forgotten
ON THIS NIGHT
ON THIS NIGHT
ON THIS VERY CHRISTMAS NIGHT
下载地址：
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以下资料都是转来的．
专辑名称：The Lost Christmas Eve
专辑歌手：Trans-Siberian Orchestra(横贯西伯利亚乐团)
发行年份：2004
发行地区：
专辑曲目：
1. Faith Noel
2. Lost Christmas Eve
3. Christmas Dreams
4. Wizards In Winter [instrumental]
5. Remember
6. Anno Domine
7. Christmas Concerto [instrumental]
8. Queen Of The Winter Night
9. Christmas Nights In Blue
10. Christmas Jazz [instrumental]
11. Christmas Jam
12. Siberian Sleigh Ride [instrumental]
13. What Is Christmas?
14. For The Sake Of Our Brother
15. Wisdom Of Snow [instrumental]
16. Wish Liszt (toy Shop Madness) [instrumental]
17. Back To A Reason, Pt. 2
18. Christmas Bells, Carousels & Time [instrumental]
19. What Child Is This?
20. O’ Come All Ye Faithful [instrumental]
21. Christmas Canon Rock
22. Different Wings
23. Midnight Clear
专辑介绍：
TRANS SIBERIAN ORCHESTRA,又是个有点陌生的名字. 但我说到美国四大前卫金属的SAVATAGE,你就该知道我想说什么了吧?~没错,这是一个几乎由SAVATAGE所有成员做的另一个新古典,前卫金属乐队.
啥?你根本不听金属...不知道啥SAVATAGE..
这...我只好再说几个名字了:
贝多芬,莫扎特...(再说不知道你就去上吊吧)
听起来这几位离的远了点,但TRANS SIBERIAN ORCHESTRA就是把它们做到了一起,在他们第一张融合了古典,歌剧,金属的专辑后,乐队主脑PAUL O’NEIL决定引用SAVATAGE在专辑AT A WINTER’S HEART时期一些关于古典音乐的想法,于是便有了以下我推荐的一张专辑:THE LAST NIGHT OF BEETHOVEN..
PAUL,JON OLIVE等人撰写了一个关于贝多芬的童话故事(也许欧洲本来就流传了这个童话,我没考证过):
一个风雨交加的夜晚,当贝多芬正在埋头苦思他最伟大的一部著作:"第十号交响曲"的构架时(汗..^_^),小精灵FATE让她的儿子矮人TWIST去暗示贝多芬这将是他活在世间的最后一个夜晚.无数的小精灵和幽魂聚集于他的宅氐,贝多芬实在无法忍受他们的嘈杂,请求他们离开.TWIST告诉他,就象所有的阴影只能存在于灯光下,贝多芬的生命之光也即将暗淡下来,他们将会消失.此刻所有的幽魂慢慢在闪电中聚集.
半夜的时候,魔鬼MOPHISTOPHELES来到.他告诉贝多芬他将带走他的灵魂.贝多芬在恐惧中告诉他他仍然希望完成自己的巨作.魔鬼看完桌上的手稿.假作宽大的告诉贝多芬他可以给他尽量多的时间.但贝多芬必须同意魔鬼一些关于音乐的修改删除意见.贝多芬在无可奈何中答应了.
魔鬼并不满足,尽一步提出如果贝多芬将这部巨作从头脑中抹去,献给魔鬼,他将归还他的灵魂.贝多芬在恐惧中十分动摇,他害怕失去生命.但这部倾注了他所有心血的巨作却让他犹豫不决.
魔鬼给了贝多芬一个小时的考虑时间,离开了.在进退维谷中,贝多芬被精灵FATE引导,回想了他这一生的所有片段(这在专辑中被重点表现,重现了乐圣的一生),他发现,他想逃避自己痛苦时刻的念头总是会冲淡他创作的灵感.他明白了他的音乐是他真实的自我,是他存在的理由.为了音乐,他情愿受更多的折磨,他不能离开曾给众人带来如此多欢乐时光的音乐.
魔鬼的要求被拒绝了.它却不肯甘心,做出了一些让步.他说贝多芬只需要交出原稿,不让它流传下去(似乎可以让他保留记忆),它就不夺走他的灵魂.贝多芬再次陷入徘徊.后来,在跟莫扎特的灵魂交流后(奇怪,哪里冒出来的?难道人死前真能看见幽灵?),他毅然决定不会毁掉他的新作.
魔鬼不顾一切的想要得到这部第十交响曲(他要这来干嘛呀..-_-)他指着窗外贫民区的一个小女孩对贝多芬说,他拥有这个孩子的生命,而且可以在她短暂生命中给她留下足够多恐惧和悲伤的回忆.唯一挽救她的办法是贝多芬放弃他最后的音乐创作.
贝多芬看了一眼窗外的小女孩...却决定坚定自己的信念.可就在拒绝出口的一瞬间,他突然再次凝望孩子.他拼命在心中说服自己那个孩子与他无关.他没有责任拯救她,况且即使救了她一人也还有成千上万象她这样的孩子他无法拯救.一个孤独的生命不应该组织他将这部巨作带给更多人,那将是数不尽的人间财富.
无论他如何想说服魔鬼(也许还有他自己?)也没有用.最后,他出人意料的告诉了魔鬼他愿意拯救那个孩子.
魔鬼跳着舞(真乃性情中人,不,性情中魔,简称性魔..-__-)高兴的伸手去拿原稿.矮人TWIST却悄悄在贝多芬耳边提醒他恶魔也许会食言.贝多芬大声质问魔鬼.魔鬼骄傲的告诉他他们可以立个合约并把它写到圣经的背面.贝多芬看了一眼暗处的FATE,她点了点头,她知道在如此神圣的纸上所写下的合约是不可侵犯的,哪怕是魔鬼也不行.
爱作即将毁灭,贝多芬完全垮了,他已提不起笔.FATE看着他疲惫的样子,并不做声,替他拿过了笔...
协议:
1827年3月26日晚通过如下协定:路易.冯.贝多芬即约翰.冯.贝多芬与玛丽亚.冯.贝多芬于波恩所生的第一个儿子(请注意这个细节)所做第10交响曲收归黑暗君王MEPHISTOPHELES所有.他将把它从所有人记忆中抹杀.作为交换,魔鬼和他所有下属将原理房间窗外所对贫民区中沉睡的孩子.合约即签字起开始生效.
路易.冯.贝多芬 MEPHISTOPHELES
魔鬼读完了合约,签上了名字将它递给贝多芬.贝多芬看也不看签上了名字.魔鬼迅速夺过了钢琴上的手稿把它放在了蜡烛上.手稿卷入了火焰之中...可是当火焰熄灭时.魔鬼被眼前的一幕震惊了,手稿竟然毫无损伤.连烧焦的痕迹也没有..魔鬼惊恐的再次将它投入火焰...它却依然毫发无伤...
魔鬼感到受到了戏弄.他大声要求贝多芬解释这一切.可贝多芬也同样被惊的说不出话来.这时,魔鬼突然发现了TWIST在暗处偷偷的笑...
"你这肮脏的小鬼在笑什么!"魔鬼大怒.
矮人告诉他:"在作曲大师贝多芬的父母生下他之前,他们还有另一个孩子,也起名为路易.冯.贝多芬.可他在一岁的时候就死了,你面前的路易.冯.贝多芬已经是他们的第二个孩子了.正如协议所写,你得到的是第一个贝多芬的第10交响曲...当然,如果它存在的话."魔鬼恼怒的盯着写下协议的FATE.FATE脸上浮出了微笑.他愤怒的将手稿掷向贝多芬,狂叫一声,消失在爆炸的焰火中.
贝多芬惊奇的看着这一切,他问FATE魔鬼是否还会夺取他的灵魂.FATE却告诉他魔鬼根本就不能掌握他的灵魂.
"但是,魔鬼说...."
"他是一个魔鬼"FATE回答:"他可以撒谎."FATE的话让贝多芬感受到了一阵温暖在全身扩散,直到他的灵魂.
贝多芬问FATE接着他该做些什么.精灵告诉他他应该休息了.今夜他会梦见一个美丽的天堂.她的话让他全身放松.他渐渐靠在钢琴边的睡椅睡着了.
暴风雨来临了.贝多芬的灵魂开始出发.屋里的鬼魂一个接着一个的消失.正当一切平静下来TWIST回到了屋内.他环顾了一下房间.突然他想出了一个恶作剧.他跑向钢琴拿起了第10交响曲的手稿爬上了书架,把它藏到了墙后的夹层(这位是不是吃饱了撑的?).这样,手稿就不会被别人发现了.整个世界没有意识到它的消失...也许,未来的某一天,这部巨著会被人发现,并呈现在世人眼前.
汗~老长的故事,用我拙劣的英文还是终于把它翻完了~
整张专辑运用金属歌剧加新古典的手法演绎了这个奇妙的故事,在故事编排上,每个人物各有角色扮演,而且人物非常鲜明.特别在贝多芬回顾一生的时候,专辑花了大量曲目来描述.从贝多芬小时侯,到长大成人.与莫扎特的交往.与他的爱人(后来被父母分开那回,这大家都知道)TERETHA的故事,直到他一生中几部重要作品创作的过程,在专辑中均有表现,歌词一般是由对白和内心活动构成,其中内心活动占主要成分.使得专辑更象一部音乐剧.
然而真正值得一提的还是配乐.这样一个故事怎么表现最好~那当然是大师们的原作,前卫金属成员编排的功力这时候凸现了出来.除了带演唱的歌剧式配乐,开篇第一首OVERTURE就是以月光开头加上了第五交响曲的金属版.用失真的吉它和弦表现出了命运的凝重.莫扎特一出场,费加罗的婚礼就奏响.引子一过,就是一阵失真的节奏加SOLO,谁说只有古典乐器才能表演古典音乐的?待到TERETHA出现时,朴素的FOR ELISE是必不可少的,这次,却是原版钢琴演奏,说明乐队成员还是能掌握分寸,不是一味想靠金属演古典增加卖点.到了16首A LAST ILLUSION是我全篇最欣赏的一段,这是贝多芬失去爱人时的挣扎.开篇一个引子后.一段野蜂飞舞的吉它改编演奏迅速彪了起来,其表现力我相信听过原版的朋友都已经产生了兴趣,暴躁的电吉它也可以弹出那么快速而干净的音乐?.但我要击节赞赏的却是歌曲的后半部分,第九交响曲中欢乐颂被一段电声SOLO引了出来.大气而宏伟的合唱曲原来简单的乐器也可以表现.主音升调后的回荡加上几个男声的小合唱让我沉醉于其中.这首歌不愧是全张碟的高潮.到了最后,A FINAL DREAM,钢琴伴随FATE的女声慢慢将乐圣送入了天堂.A LAST NIGHT OF BEETHOVEN 终于结束了.
关于这张专辑,我非常喜欢.但对它的评价却一直褒贬不一.有人认为金属演绎的新古典亵渎了乐圣的原作.但我的看法却是,既然是好的音乐,为什么不能用不同的手法去演绎呢.现代人有现代人的观念和技术.只要能体现作品的精髓,又何必拘泥于形式.
当然,不知道你的意见是什么,所以现在要你亲自听后才能得到自己的感觉.你说呢?
