Recorded January 2001
Festeburgkirche, Frankfurt am Main
Composed By – Valentin Silvestrov
Design – Sascha Kleis
Engineer [Tonmeister] – Markus Heiland
Liner Notes [English Translation] – Eileen Walliser-Schwarzbart
Liner Notes [German] – Tatjana Frumkis
Photography By [Cover Photo] – Vladimir Jedlička*
Photography By [Liner Photos] – Roberto Masotti
Producer – Manfred Eicher

CD anthology of music heard in the “Sounds and Silence” film. With Arvo Pärt, Keith Jarrett, Jan Garbarek, Eleni Karaindrou, Anouar Brahem, Dino Saluzzi, Anja Lechner, Nik Bärtsch, Gianluigi Trovesi, Marilyn Mazur and more.

There is a lot of history concentrated in Jack DeJohnette’s adventurous new trio. Fifty years ago, as a guest with John Coltrane’s group, Jack DeJohnette played with the fathers of Ravi Coltrane and Matthew Garrison, and the programme of In Movement opens with Coltrane’s harrowing and still pertinent elegy “Alabama”. “Serpentine Fire” is from the songbook of Earth, Wind and Fire, offered as a tribute to Maurice White – who also collaborated with Jack in the early years. “The Two Jimmys” is an hommage to Jimi Hendrix and Jimmy Garrison, innovators both, and “Rashied” salutes the late Rashied Ali, another great drummer from Coltrane’s cosmos. For all the wealth of references, this is indeed a band in movement, taking the music forward, as the title track affirms. Ravi Coltrane and Matt Garrison, in their ECM debuts, both respond magnificently to DeJohnette’s driving drumming, Ravi with superb solos, Garrison with lean bass lines and imaginative looping electronics. Jack DeJohnette: “We are connected at a very high and extremely personal level that I believe comes through in the music.” In Movement was recorded at New York’s Avatar Studios in October 2015, and produced by Manfred

Food has defined a new kind of lyrical electro-acoustic improvisation in the course of its twelve year existence. Founded as a quartet in 1998, since 2006 the group has been a core duo of UK saxophonist Iain Ballamy and Norwegian drummer Thomas Strønen joined by guests for diverse projects. At the Molde Jazz Festival and the Oslo Blå club in 2007/8 their guests were trumpeter Nils Petter Molvaer, well known to ECM followers, and Austrian improvising guitarist Christian Fennesz, making his label debut. The resultant music, with melodic improvising, trancelike pulses, and shifting clouds of sound is highly attractive.

Anton Webern (Composer), Johann Sebastian Bach (Composer), Christoph Poppen (Conductor), Munich Chamber Orchestra (Orchestra), Hilliard Ensemble (Vocals)

乌德琴（Oud），流传于中东和北非地区的一种拨弦乐器，状如琵琶，声音特性和演奏技法则更接近于吉它，因其音乐表现力惊人，加之历史悠久，流传广泛，故此被誉为阿拉伯乐器之王.

来自北非突尼斯的Anouar Brahem是当代最杰出的乌德琴演奏家之一，曾师从突尼斯乌德琴泰斗Ali Sriti多年，长期浸淫阿拉伯民间音乐，从事乌德琴演奏已有20多年的历史，足迹遍及中东及欧洲诸国，并于1990年加盟ECM，与旗下著名艺人Jan Garbarek、John Surman、Dave Holland 等有过广泛合作.

Astrakan Café是一张难得一闻的世界音乐唱片，Anouar Brahem和他的Trio成员，土耳其竖笛手Barbaros Erkose以及阿拉伯手鼓（Bendir，Derbouka）艺人Lassad Hosni共同将印度民间音乐、吉普塞音乐、弗拉门戈和爵士等多种音乐元素完美地融入阿拉伯民间音乐当中，带我们进入到一个又一个梦幻般的音境，仿佛置身于《一千零一夜》的故事中

Conte de L'incroyable Amour is Tunisian composer and oud virtuoso Anouar Brahem's follow-up to his excellent ECM debut, Barzakh. Like its predecessor, this release contains original material that mixes Arabic music and jazz improvisation and features a stellar band comprised of some of Turkey's finest musicians (this time out Brahem is joined by clarinetist Barbaros Erkose, nay (reed flute) player Kudsi Ergune, and the percussionist from Barzakh, Lassad Hosni). In contrast to Barzakh's livelier mood, though, the sound here is more meditative and even stark at times, especially on solo flights by both Brahem ("Iram Retrouvee") and Erkose ("Etincelles") and by way of Erguner's ethereal improvisations ("Diversion"). The pace picks up on the sympathetically played and joyous ensemble piece "Conte de L'incroyable Amour" and on the impassioned Brahem and Erkose duet, "Nayzak." ECM's typically sparse and airy production compliments Brahem's ascetic material without making it sound too dry. A wonderful album that, upon repeated listening, reveals many transcendent moments.

Design – Sascha Kleis
Guitar [Guitars], Bass Guitar, Electronics, Percussion, Sampler [Samples], Programmed By [Programming] – Eivind Aarset
Mastered By – Jan Erik Kongshaug
Mixed By – Eivind Aarset (tracks: 6), Erik Honoré (tracks: 1 to 5, 7 to 9, 11), Jan Bang, Jan Erik Kongshaug (tracks: 1)
Photography By [Cover Photo] – Rusanna Werbicki
Photography By [Liner Photo] – Karl-Heinz Schmitt*, Luca Vitali, Soukizy
Producer – Jan Bang
Recorded By – Erik Honoré, Jan Bang
Sampler [Samples], Performer [Dictaphone], Programmed By [Programming] – Jan Bang

作为小提琴家，伊萨伊就学于比利时的列日音乐学院，后随波兰小提琴家维尼亚夫斯基(Henri Wieniaski,1835-1880)和比利时小提琴家维奥唐(Henri Vieuxtemps,1820-1881)继续学习。在作曲方面，伊萨伊虽然没有受过正式的专业训练，但他却创作了不少的音乐作品，其中包括八部协奏曲和各种室内乐作品等。特别是伊萨伊的小提琴作品，由于能够高度发挥小提琴的演奏技巧，在19世纪欧洲小提琴音乐中有着重要的地位和影响。伊萨伊的音乐创作既表现出对浪漫主义晚期比利时作曲家采萨·弗朗克(Cesar Auguste Frank,1822-1890)和20世纪初期法国印象主义大师德彪西风格的继承，又具有自己的独特个性。
伊萨伊Op.27所含六部作品的一般情况如下。
第一首，g小调，献给匈牙利小提琴家约瑟夫·西盖蒂(Joseph Szigeti,1892-1973)，伊萨伊创作这组无伴奏小提琴独奏作品的最初动议，就是西盖蒂提出的。全曲包含《广板》、《赋格》、《诙谐曲风格的小快板》和《终曲》四个乐章。在总体风格上近似巴赫。
第二首，a小调，献给法国小提琴家雅各·蒂博(Jacques Thibaud,1880-1953)，含有《缠绕》(Obsession)、《忧郁》(Malinconia)、《死之舞》(Danse des Ombres)、《复仇女神》(Les Furies)四个标题性音乐。
第三首，d小调，献给罗马尼亚著名作曲家、指挥家和小提琴家乔治·艾涅斯库(George Enesco,1881-1955)。这首作品仅有一个乐章，演奏时间也只有六分钟。但在“叙事曲”的标题下，充分表达了伊萨伊对艾涅斯库的尊敬、友好和回忆。丰富的半音运用，显出受巴托克风格影响的痕迹和某些无调性特征。在Op.27中，这一首最为著名。
第四首，e小调，献给奥地利著名小提琴家和作曲家克莱斯勒(Fritz Kreisler,1875-1962)。含《阿列曼德舞曲》、《萨拉班德舞曲》和《终曲》三个乐章。在某种程度上，它更接近巴洛克风格的《组曲》。
第五首，G大调，献给比利时小提琴家克里克波姆(Mathieu Crickboom,1871-1947)。只有《曙光》(L'Aurore)和《乡村之舞》(Danse Rustique)两个乐章。全曲具有一定的印象主义风格。
第六首，E大调，献给西班牙小提琴家曼纽尔·奎洛加(Manuel Quiroga,1892- )。和《第三奏鸣曲》一样，也只有一个乐章。音乐具有西班牙或吉卜赛风格。

Valse Boston (1996) is scored for piano and orchestra, and is dedicated "to my wife with whom I've never danced." Diplipito (1997) is scored for cello, countertenor, and orchestra. (Bongos play a prominent role as the work progresses.) The score is inscribed with a quote by Joseph Brodsky: "My work of silence, my mute creation . . . ." What "diplipito" means is unclear, but the composer offers a clue by adding the phrase "meaningless words from a Georgian epic" to the score.

Over several summers Trio Mediaeval and trumpeter Arve Henriksen spent many days together by the beautiful Dalsfjorden on the Norwegian west coast, and it was there that most of the music for this recording was born. Fascinated and inspired by Icelandic sagas, beautiful chants, folk songs, religious hymns and fiddle tunes, the quartet has arranged a unique set of songs where improvisation, mediaeval and traditional music from Iceland, Norway and Sweden meet the present. The singers and trumpeter have often performed in live settings with the collaboration reviewed by The Guardian as a richly musical and imaginative encounter. Rímur is their first extensive collaboration on disc and was recorded in February 2016 at Munich's Himmelfahrtskirche, produced by Manfred Eicher.

Lost River is an evocative post-ambient, richly textured sonic event, and one of the outstanding beyond-category recordings of recent ECM history. Drummer Michele Rabbia and guitarist Eivind Aarset had played many duo concerts, and Rabbia had also worked with trombonist Gianluca Petrella in other contexts, but this recording marks a premiere for the trio. Spontaneously improvised for the most part, and with mysterious detail flowering inside its soundscapes, Lost River keeps revealing new forms. Rabbia's drumming is freely creative and propulsive, and enhanced through his use of electronics. Aarset's flowing playing will delight listeners who have enjoyed his Dream Logic project and his contribution to recordings with Nils Petter MolvÓ•r, Tigran Hamasyan, Andy Sheppard and others. Petrella's role as a principal instrumental voice will surprise those who know him only as a great "jazz" soloist with Enrico Rava and Giovanni Guidi; his broad range is very well deployed in Manfred Eicher's widescreen production on this recording, made in Udine in January. All three players – Rabbia, Petrella and Aarset - share an interest in electronic music as a means for conveying or enhancing emotional expression and for shaping the environments and atmospheres in which instrumental interaction, melodic development and the coloring of sound can take place.

The tenderly melancholic album crosses the genres, with potential appeal to early music lovers, world music and jazz improvisation audiences alike. John Potter has selected a program of early songs and polyphonic vocal repertoire ranging from Gregorian chant and the Carmina burana manuscript (13th century) to Josquin Despre(c.1450/55-1521). Potter sees written music as a resource for fresh ideas and ravishing colors. All arrangements are developed in the improvisational interplay between the four musicians. The Dowland project appears on this third album in a slightly modified line-up: four outstanding players from different musical and cultural backgrounds fusing early music, folk and jazz sensibilities