首页音乐古典音乐 VeryCD电驴大全

Batiashvili, Nezet-Seguin -《柴可夫斯基 : 第六号交响曲「悲愴」、七首浪漫曲》(Tchaikovsky- Pathetique)[HDTrack 96KHz 24bits][FLAC]

专辑英文名: Tchaikovsky- Pathetique
专辑中文名: 柴可夫斯基 : 第六号交响曲「悲愴」、七首浪漫曲
艺术家: Batiashvili, Nezet-Seguin
古典类型: 全集作品
资源格式: FLAC
版本: [HDTrack 96KHz 24bits]
发行时间: 2013年09月20日
地区: 美国
语言: 英语
简介:
专辑说明:
柴可夫斯基：第六号交响曲《悲愴》、七首浪漫曲
☉莉莎‧巴蒂雅许薇莉，小提琴
亚尼克．聂泽─赛金，钢琴、指挥鹿特丹爱乐
柴可夫斯基第六号交响曲《悲愴》不但是他一生最后的天鹅之歌，谱写的经过和心路历程，也成为音乐史最值得反覆玩味的经典作品之一。它创作於1893年，当时梅克夫人已经不再资助柴可夫斯基，也不再给他写信。柴可夫斯基突然失去精神上的挚友，精神上受到莫大的打击，再加上妹妹於1891年逝世，柴可夫斯基的心情更是抑鬱多时。
1893年一月，看似被绝望塞满的生活突然出现一道曙光，柴可夫斯基有了创作第六号交响曲的灵感。他像是预言似的写下第六号交响曲，而且一反常态的以慢板结束。他对这部作品的热爱甚於其他所有作品，并且绞尽脑汁的为它题上「悲愴」这个标题。
来自加拿大法语区的指挥家聂泽─赛金除了在2008年从葛济耶夫手中接下鹿特丹爱乐，目前还担任加拿大蒙特利尔大都会管弦乐团首席指挥与费城管弦乐团音乐总监。而他与这些乐团首度合作时，曲目都是柴可夫斯基第六号交响曲《悲愴》，因为聂泽─赛金认为，柴可夫斯基这部作品不但有动人的旋律，还有「生命的慾望，以及隐含人性终究欠缺信心的信息」。聂泽─赛金的詮释洋溢著活力与情感的能量，色彩丰富而且架构明晰。
交响曲之外，这张唱片还收录七首把柴可夫斯基的浪漫曲改编成小提琴与钢琴版本的小品，由小提琴家巴蒂雅许薇莉与聂泽─赛金合作。
柴可夫斯基：第六号交响曲《悲愴》、七首浪漫曲 / 亚尼克．聂泽 - 赛金，钢琴、指挥
Tchaikovsky: Symphony No. 6 , Romances from Opp. 6 & 73 / Rotterdam Philharmonic, Batiashvili , Nezet-Seguin
唱片公司：Universal
音乐类型：古典音乐
唱片编号：4790835
发行日期：2014年01月03日
进口专辑 / CD / 1 片装
柴可夫斯基 : 第六号交响曲「悲愴」、七首浪漫曲／TCHAIKOVSKY : SYMPHONIE NO.6 , ROMANZEN AUS OP.6 & OP.73／ROTTERDAM PHILHARMONIC, BATIASHVILI, NEZET-SEGUIN
NEZET-SEGUIN, YANNICK [所有作品]
产品条码： 0028947908357
产品编号： 4790835
发行公司： DG [发行商品]
发行日期： 2013年01月01日
产品制造地：欧美 .
发行类型：乐团 . 小提琴 . 交响乐 . 管弦乐 . 古典 . CD .
内装片数： 1片
01 第一乐章：慢板─不太快的快板
02 第二乐章：优雅的快板
03 第三乐章：十分活跃的快板
04 第四乐章：终曲：悲哀的慢板─行板
05 柴可夫斯基：别相信，我的朋友，作品6-1
06 柴可夫斯基：一句话都没有，我的朋友，作品6-2
07 柴可夫斯基：为什么，作品6-5
08 柴可夫斯基：不，只有一个人知道，作品6-6
09 柴可夫斯基：夜，作品73-2
10 柴可夫斯基：日落，作品73-4
11 柴可夫斯基：再一次和以前一样孤独，作品73-6
引用Symphonie No. 6 »Pathétique«
Selected Romances op. 6 + op. 73
Yannick Nézet-Séguin
Rotterdam Philharmonic Orchestra
Lisa Batiashvili
Int. Release 20 Sep. 2013
0289 479 0835 7 CD DDD GH
Tchaikovsky: Pathetique / Batiashvili, Nezet-Seguin, Rotterdam Philharmonic
Tchaikovsky / Nezet-seguin / Batiashvili
Release Date: 01/07/2014
Label: Deutsche Grammophon Catalog #: 001975702
Composer: Peter Ilyich Tchaikovsky
Performer: Lisa Batiashvili, Yannick Nézet-Séguin
Conductor: Yannick Nézet-Séguin
Orchestra/Ensemble: Rotterdam Philharmonic Orchestra
Number of Discs: 1
Recorded in: Stereo
In Stock: Usually ships in 24 hours.
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Yannick Nezet-Seguin
Composer: Pyotr Ilyich Tchaikovsky
Audio CD (January 7, 2014)
Number of Discs: 1
Label: Deutsche Grammophon
ASIN: B00CP71J4M
Release Date September 20, 2013
Duration 01:04:27
Genre Classical
Styles Symphony
AllMusic Review by Blair Sanderson [-]
Yannick Nézet-Séguin's first symphonic recording with the Rotterdam Philharmonic Orchestra on Deutsche Grammophon is of Pyotr Il'yich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique," which the conductor has known intimately throughout his career. Due to his familiarity with the music, this is a solid reading that holds its own against the large number of recordings of this symphony, so listeners who need a first-rate version can be assured of the interpretation and the performance. Yet because this is one of the most frequently recorded classical pieces of all time, one may wonder what Nézet-Séguin brings to it that makes his rendition necessary. Perhaps his sense of pacing and calculated use of rubato for dramatic effect make it feel more organic than most, and his sudden shifts of tempo and emphasis on heightened dynamics make this one of the most interesting versions to follow. But in the end, there's not enough to distinguish it from the competition, so listeners should not expect a major revelation. It's still the same warhorse. To fill out the CD, Nézet-Séguin accompanies violinist Lisa Batiashvili in a selection of Tchaikovsky's Romances, Op. 6 and Op. 73, of which the most famous is None but the lonely heart (track 8). These pieces serve as a welcome palate cleanser after the rich but not overly ripe performance of the "Pathétique," and it's interesting to hear Nézet-Séguin's piano playing, which is quite restrained and poetic in feeling. Batiashvili carries the melodic lines with passionate expression and a warm singing tone, so the most compelling music making can be found in these filler tracks.
专辑曲目:
01. 1. Adagio Allegro non troppo Andante Moderato mosso
02. 2. Allegro con grazia
03. 3. Allegro molto vivace
04. 4. Finale. Adagio lamentoso Andante
05. No. 1 Do not believe, my friend Moderato assai
06. No. 2 Not a word, O my friend Andante ma non troppo
07. No. 5 Why? Moderato
08. No. 6 No, only one who has known (None but the lonely heart)
09. No. 2 Night Adagio
10. No. 4 The sun has set Andante
11. No. 6 Again, as before, alone Andante mosso
评论(10) 收藏(2) 查看完整资源页

Birtwistle -《诗词音乐论》(Chamber Music)[FLAC]

专辑英文名: Chamber Music
专辑中文名: 诗词音乐论
艺术家: Birtwistle
古典类型: 全集作品
资源格式: FLAC
发行时间: 2014年04月14日
地区: 美国
语言: 英语
简介:
专辑介绍:
哈里森．伯特威斯尔：诗词音乐论 Harrison Birtwistle: Chamber Music (CD) 【ECM】
「高度的拋光表面修饰是危险的，你只会看到自己的身影反射在其中，我试图保留一种粗糙度在我的音乐之中。如果我是一位雕塑家，我会希望我能看到我自己所钻凿过的痕迹。」
指挥家Elgar Howarth曾经如此形容著英国当代作曲家哈里森．伯特威斯尔爵士(Harrison Birtwistle)的作曲风格，Birtwistle也不可否认他对於流行音乐的矫饰与陈腔滥调的厌恶，更一向追求狂野不羈、一种野性式的纯粹音乐直观，探讨人生和音乐之间的联繫与价值。
本作《诗词音乐论》(Chamber Music)中收录了Birtwistle近年来的作品：用12曲人声以及大提琴二重奏演绎美国现代抒情诗人Lorine Niedecker的重要诗作，低吟与高亢的音层衝突，充满情感的精采狂想；2011年所作、狂野的小提琴、大提琴、钢琴三重奏─「Trio」，如魔术般的聆听饗宴，奥地利钢琴家Till Fellner如鬼魅般的演出非常卓越出色；而「Meditations On a Poem of Rilke」，係对於奥地利文学诗人Rainer Maria Rilke的名作《Liebes-lied》﹝爱之歌﹞致敬，由低音男声Roderick Williams倾诉著令人动容的爱情诗句，颓废式的美丽烂漫。
Harrison Birtwistle明瞭人生的孤寂与本质，透过这些情感丰富的诗词语句，他亟欲表达对於这些情绪的高度认同感，透过浅明的室内乐设置，直白地转化这些人类的基本情慾，直至生命的深层底。
〈Recorded August 2011〉
Lisa Batiashvili: violin
Adrian Brendel - violoncello
Till Fellner - piano
Amy Freston - soprano
Roderick Williams - baritone
哈里森．伯特威斯尔: 诗词音乐论
Harrison Birtwistle: Chamber Music
作者／丽莎．巴蒂雅许薇莉/ 阿德里安．布伦德尔/ 提尔．费尔纳/ 艾美．佛斯顿/ 罗德里克．威廉斯 Lisa Batiashvili/ Adrian Brendel/ Till Fellner/ Amy Freston/ Roderick Williams
出版社／ ECM RECORDS
出版日期／ 2014/06/24
商品语言／无
引用Performer: Lisa Batiashvili, Adrian Brendel, Till Fellner, Amy Freston, Roderick Williams
Composer: Harrison Birtwistle
Audio CD (14 April 2014)
Number of Discs: 1
Label: ECM New Series
ASIN: B00IKVTFN4
Harrison Birtwistle: Chamber Music (2014)
By HRAYR ATTARIAN,
Published: July 24, 2014 | 2,950 views
Harrison Birtwistle: Chamber Music
Released in celebration of composer Harrison Birtwistle's 80th birthday; his Chamber Music on the ECM label, is a collection of introspective, minimalistic and superbly abstract mesmerizing works. The four pieces share a subtle yet definite theatricality and a sense of deep contemplation that has a visceral impact.
His "Trio" opens with pianist Till Fellner's furious, rapid-fire percussive notes followed by the gentle brooding strings. This contrast sets a tense ambience that is maintained throughout the composition by alternating Fellner's independent and assertive monologues with violinist Lisa Batiashvili's and cellist Adrian Brendel's angular yet supremely lyrical duets. The trio only plays together briefly in a cinematic conversation that features Batiashvili's agile and expressive bowing together with Fellner's sparse, evocative tones and Brendel's pizzicato punctuation. The stimulatingly vivid divergence is not only between piano and strings but there is also an intriguing and provocative stylistic distinction between Batiashvili and Brendel. While the former has a radiantly supple eloquence the latter brings an understated and darkly hued quietism to the performance.
Brendel showcases his versatility and his nimbleness on "Bogenstritch —Meditations on a poem of Rilke" incidentally written for his father the late pianist Alfred Brendel. Sandwiched between baritone Roderick Williams' two Lieds are three reflective piano and cello dialogues that range from the sparse and hypnotic "Variations" to the poetic and fiery "Lied Ohne Worte." On the latter Brendel's angular and melancholic solo demonstrates brief bursts of passion while on the former both him and Fellner make deft use of silent pauses to weave their musical tale. Fellner's thick chords and Brendel's furiously alternating con-arco and pizzicato flourishes flow in a tight, rhythmical dance on the stimulating "Wie Eine Fuge," the fourth movement of this absorbing opus. Williams' haunting, buttery voice unfurls over Fellner's carefully scattered keystrokes with mysticism on the first song while his smooth, pleading articulation glides over Brendel's reverberating strings on the last with a prayer like spirituality.
But Brendel's shining hour is his sublime accompaniment to soprano Amy Freston's entrancing interpretation of twelve of objectivist poet Lorine Niedecker's short yet complex and compelling verse. Their superb camaraderie allows them to seamlessly reflect Niedencker's haiku like serene wisdom. Brendel's bowed phrases, ending in a thump of plucked strings, set an expectant ambience around Freston's immaculate, chant like singing on "Always North of Him." Freston's vocals rise and fall in nimble, and fragile beauty over Brendel's shimmering, undulating tones on "O Late Fall." Meanwhile on the "Hear Where Her Snowgrave Is" Brendel sets a somber atmosphere for Freston's evocative and mournful aria.
With this series of intimate, often dramatic, frequently pensive and always captivating musical creations, Birtwistle demonstrates why he is one of the most compelling and innovative living composers. The disc, with its impeccable sound, is both emotionally and intellectually gratifying.
Track Listing: Three Settings of Lorine Niedecker; Trio; Bogenstrich Meditations on a poem of Rilke; Nine Settings of Lorine Niedecker.
Personnel: Lisa Batiashvili: violin; Adrian Brendel: cello; Till Fellner: piano; Amy Freston: soprano voice; Roderick Williams: baritone voice.
Record Label: ECM Records
Release Date April 14, 2014
Duration 01:05:26
Genre Classical
Styles Vocal Music
Chamber Music Recording Date
August, 2011
AllMusic Review by Blair Sanderson [-]
While Harrison Birtwistle has long been established as a composer of major works for the theater, he has maintained a connection to the humbler spheres of vocal and chamber music, writing modestly scaled works that, in substance and mood, are rarefied, reflective, and intimate. The two groups of settings of the poetry of Lorine Niedecker, composed for soprano and cello, have a spare quality reminiscent of Webern, and they possess a quiet, meditative stillness that comes from simplification of accompaniment and concentration of expression. Bogenstrich: Meditations on a Poem of Rilke, for voice, cello, and piano, is more richly textured and sometimes chordal, and though there are fleeting allusions to Romantic art song, the style is uncompromisingly modern. The Trio for violin, cello, and piano is unusual for Birtwistle because has avoided conventional instrumental groupings since he composed his Refrains and Choruses for wind quintet in 1957. Yet his handling of the violin and cello as independent parts, disconnected from the piano except for brief intersections of activity, is his solution to the problems of using such a standard ensemble and its attendant expectations. The somber performances by soprano Amy Freston, baritone Roderick Williams, violinist Lisa Batiashvili, cellist Adrian Brendel, and pianist Till Fellner, produce an introspective mood, and the subdued program is stock in trade for ECM New Series.
Lisa Batiashvili: violin
Adrian Brendel: cello
Till Fellner: piano
Amy Freston: soprano
Roderick Williams: baritone
This album of Sir Harrison Birtwistle’s chamber music and songs, mostly of recent vintage, is issued as the innovative Great British composer approaches his 80th birthday. It features an exceptional cast. Heard together and separately is the trio of Austrian pianist Till Fellner, Georgian violinist Lisa Batiashvili and English cellist Adrian Brendel. They are joined by London-born singers Amy Freston and Roderick Williams. The compositions include “Bogenstrich” written in 2006 as a short piece in tribute to Alfred Brendel and first played by his son Adrian together with Fellner. It was subsequently expanded into a cycle with the addition of settings of Rilke for baritone, cello and piano. The “Trio” is the newest piece, premiered in 2011, a 16-minute single movement work of elaborate patterning, gestures and responses, for piano, violin and cello. Settings of the writings of US Objectivist poet Lorine Niedecker (1903-1970), scored for soprano and cello in 1998 and 2000, begin and close the album. As Bayan Northcott writes in the booklet, “These concentrated songs demand the utmost of their performers in precision, expression and timing. As in Webern’s settings, the few words and notes on the page can seem to imply whole worlds of thought and feeling”. This highly-concentrated chamber-scale expressivity is felt throughout the entire album, recorded at Munich’s famed Herkulessaal, and produced by Manfred Eicher.
专辑曲目:
Three Settings Of Lorine Niedecker
01. Always North Of Him
02. I Was The Solitary Plover
03. As I Shook Dust From My Father's Door
04. Trio for violin, violoncello and piano
Bogenstrich
05. Liebes-Lied 1
06. Lied ohne Worte
07. Variationen
08. Wie eine Fuge
09. Liebes-Lied 2
Nine Settings Of Lorine Niedecker
10. There’s a Better Shine
11. My Friend Tree
12. Along The River
13. Hear Where Her Snowgrave Is
14. How the White Gulls
15. My Life
16. Paul
17. O Late Fall
18. Sleep's Dream
time: 65:36
评论(41) 收藏(14) 查看完整资源页

James Galway & Henry Mancini -《粉红色的回忆》(In the Pink)[FLAC]

专辑英文名: In the Pink
专辑中文名: 粉红色的回忆
艺术家: James Galway & Henry Mancini
古典类型: 全集作品
资源格式: FLAC
发行时间: 1990年10月25日
地区: 美国
语言: 英语
简介:
专辑介绍:
精选多首耳熟能详旋律「Pink Panther 、Baby Elephant Walk、Breakfast at Tiffany's、Moon River」等长笛与钢琴伴奏曲集。
Alfred　商品编号：029156152548
原文书名 In the Pink (James Galway with Henry Mancini)
作者 Various
编订者 James Galway
ISBN 9780898983258
总页数 135
特徵影视配乐
适用对象进阶
乐器钢琴长笛
JAMES GALWAY, HENRY MANCINI [所有作品]
产品条码： 0078635531527
产品编号： RCD15315
发行公司： RCA [发行商品]
发行日期： 1990年10月25日
产品制造地：欧美 .
发行类型：流行 . CD . 英文 .
内装片数： 1片
【笛笛唱片】James Galway 詹姆斯高威&亨利曼西尼 Henry Mancini -IN THE PINK*黑胶唱片
引用James Galway - James Galway & Henry Mancini In The Pink
Artist Name: James Galway
Tracks Length: 13 Tracks
Record Company: RCA
Release Date: Oct 25, 1990
Genres: Easy Listening
Label: RCA Red Seal ‎– CRC1-5237
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: Stage & Screen
Style: Soundtrack, Theme
Style: Stage & Screen
Year: 1984
Item: 00-P0587FLX
UPC: 029156152548
ISBN 10: 0898983258
ISBN 13: 9780898983258
PRICE: $26.95
Category: Woodwind - Flute Method or Collection
Format: Book
Instrument: Flute
Instrumentation: Piano & Flute
Piano solos with separate (inserted) flute part. Sample contents: Pink Panther * Baby Elephant Walk * Breakfast at Tiffany's * Medley of Days of Wine and Roses, Charade, and Moon River.
Credits
Artwork – Colin Holloway (2), Owl Graphics
Composed By – Bricusse* (tracks: A5, B2)
Composed By, Arranged By, Conductor – Henry Mancini
Engineer – Neil Hutchinson
Executive Producer – Michael Emmerson
Flute, Tin Whistle [Pennywhistle] – James Galway
Leader – Sydney Sax*
Orchestra – National Philharmonic Orchestra
Photography By – Don Wood (4)
Producer – Ralph Mace
Recorded By – Mike Ross*
Notes
Recorded at CBS Studios, London.
专辑曲目:
01. The Pink Panther 3:14
02. Meggie's Theme 3:18
03. Breakfast At Tiffany's 3:07
04. Pennywhistle Jig 2:08
05. Crazy World 3:08
06. "The Thorn Birds" Theme 3:01
07. Pie In The Face Polka 2:26
08. Baby Elephant Walk 3:00
09. Two For The Road 3:14
10. Speedy Gonzales 2:10
11. Theme From "The Molly Maguires" 3:05
12. Medley: Days Of Wine And Roses/Charade/Moon River 6:04
13. Cameo For Flute "...for James." 4:02
评论(14) 收藏(11) 查看完整资源页

Nikolaus.Harnoncourt -《贝多芬九大交响曲》(Beethoven.-.9.Symphonies)[5 CD][APE]

专辑英文名: Beethoven.-.9.Symphonies
专辑中文名: 贝多芬九大交响曲
艺术家: Nikolaus.Harnoncourt
古典类型: 交响曲
资源格式: APE
版本: [5 CD]
发行时间: 1991年10月11日
地区: 美国
语言: 英语
简介:
专辑介绍:
BEETHOVEN : SYMPHONIES NOS 1-9 (5CD)
英国留声机大奖：贝多芬九大交响曲 (5CD)
NIKOLAUS HARNONCOURT & CHAMBER ORCHESTRA OF EUROPE 哈农库特（指挥）欧洲室内乐团
★ 企鹅三星,留声机杂誌唱片大奖
★ 贝多芬的九首交响曲，可以说是交响曲史上，让交响曲登於艺术品地位！
★ 这套录音是一向以古乐指挥闻名的哈农库特，踏入贝多芬乐曲的第一套代表作，荣获1992年英国留声机大奖录音专辑！
贝多芬的九首交响曲，可以说是交响曲史上，让交响曲登於艺术品地位，而不仅仅只是供贵族享乐聆听用的关键作品。其主要的差别在於，贝多芬在其中放入大量的个人想法主导乐曲走向，而不是以写作舒适悦耳的音乐为依归。当我们知道贝多芬小莫札特十四岁，小海顿三十八岁，而在他写作第一号交响曲时，他才只有二十岁，可是却能够在这首作品上表现出那么极端与前两位维也纳大师的区别时，就很难不问，究竟眼前这位作曲家，是一位纯然叛逆的后辈，还是一位独有创见的天才。音乐学者阿诺．谢林曾经把贝多芬的第四号交响曲称为「席勒之流」，意思是宛若席勒的诗一般恢宏、豪气，席勒是贝多芬最喜欢的诗人之一，如果听到这样的比喻，一定也深感自豪，因为他的第九号交响曲终乐章的快乐颂就是以席勒的诗作谱成的。这套录音是一向以古乐指挥闻名的哈农库特，踏入贝多芬乐曲的第一套代表作，在发行当时就引起举世乐坛的讨论，他将古乐的概念和考据方式放入传统乐团的演出中，在两者之间取得平衡，发行隔年立刻赢得留声机大奖，如今终於低价再版，值得珍藏。
产品编号: 0927497682
产品条码: 0809274976826
发行日期: 2008-11-07
引用Release Date October 11, 1991
Duration 05:57:45
Genre Classical
Styles Symphony
Beethoven Complete Symphonies
Show View record and artist details
Author:
Stephen Johnson
BEETHOVEN Complete Symphonies – Harnoncourt
Stravinsky called Beethoven's Grosse Fuge ''that absolutely contemporary work that will be contemporary for ever''. Looking over what has happened in Beethoven performance in the concert-hall and on record over the last two or three years I've had the growing feeling that the same is true of the symphonies. Just when everybody seemed to be saying that the mighty nine had been worked to death, along came Christopher Hogwood, Frans Bruggen and that provocateur par excellence Roger Norrington to shake us out of our complacency. Then, last month, came confirmation in Gunter Wand's Eroica that the traditional-classical approach can still be roundly satisfying.
And now this—a new Beethoven cycle which manages to combine the shock of the new with an uncanny sense of familiarity. Harnoncourt doesn't pretend that what he offers is Beethoven as the composer imagined it. With the exception of the trumpets, the instruments are all modern, and while phrasing, rhythmic articulation, expression and balance reveal Harnoncourt's rigorous and passionate pursuit of historical truth, the results neither sound nor feel like anything offered under that banner before. Right from the start—the slow introduction to the First Symphony—the feeling that emerges through the finely differentiated phrasing is surprising in its intensity.
So why 'familiarity'? Because listening to this set I was reminded over and over again how exciting it was to discover Beethoven's symphonies for the first time—I'm not exaggerating. One could argue for pages about Harnoncourt's theories on musical rhetoric in Beethoven's time, on musical genres as ''dramas or novels'' or ''the links between body movement and music''; what is beyond dispute is the vision that motivates Harnoncourt's music-making. The driving force behind many of the allegros is comparable with Toscanini, but unlike the familar NBC Toscanini cycle, or for that matter Roger Norrington, he can be flexible: rubatos, even allargandos, aren't uncommon, and important changes of key or character can bring minute tempo changes of their own—the kind of subtle inflexion Czerny observed in Beethoven's playing.
The most striking contrast with period instrument recordings, however, is in the slow movements. Harnoncourt's tempos can be pretty mobile, his phrasing sharply featured, but the emotional generosity, the telling contrasts of mood and colour suggest older models. Even Gunter Wand (RCA), excellent as he is, doesn't equal the expressive range and penetration of Harnoncourt's Eroica Funeral March, and only Carlos Kleiber (DG) amongst recent-ish versions matches the superb drama of light and scale in the Andante con moto of No. 5. And what happens on the large scale is often mirrored in miniature. In the Adagio of No. 4 the dotted figure in the first bar keeps its tension not only through the long diminuendo but even while the violin line sings warmly above—two very different voices, each to play a major part in the drama that follows. I admit there are places where I missed the sharp definition that period instruments can bring to Beethoven's textures, but given the resources he is working with Harnoncourt's achievements can be near-miraculous. Here, and in many other passages, I was repeatedly impressed by the way the COE not only take on board Harnoncourt's ideas but give expression to them so naturally. There's nothing studied: the Pastoral breathes freely—even in the ''Szene am Bach'' the sharply 'classical' pointing sounds entirely natural—while each movement of the Seventh dances, athletically, gracefully, titanically, but always with a combined sense of freedom and tight control.
A warning voice suggests that I ought to tone down the encomium a little. All right, I do have a few quibbles: I can do without both scherzo repeats after the trio as in Nos. 1 and 2, and his continuing the finale of No. 5 at virtually the same pulse as the scherzo seems to go against the implications of the metronome markings—though it's good to see Harnoncourt too observing the scherzo-trio repeat, and once the finale has established itself it's as thrilling as anything else in the set. I have to say that the performance of No. 9 doesn't seem to me quite as consistent as the others: tension in the first movement and the Adagio does flag a little in places. The finale makes up for it though—every long crescendo is like a gradual ascent skywards, and the sections flow into one another beautifully. Even with reservations, this is an exceptional Ninth.
Casting around for a parallel, I have to say that the only recorded cycle I have heard recently in which the musical insight is as consistent and the emotional charge so consistently high is the 1939 Toscanini, currently available on Nuova Era ((CD) 2243/48) but the sound here is far preferable. When this set has had the circulation it deserves, perhaps we'll see an end to that weary lament for the days when conductors were gods, and you could go to a concert and have tea at Lyons Corner House and still have change from a threepenny bit. For those who don't view everything present through black-tinted spectacles this must be one of the most exciting, challenging Beethoven releases to appear in many years.'
专辑曲目:
Disc: 1
1. Symphony No. 1 In C Major, Op. 21: Adagio molto - Allegro con brio
2. Symphony No. 1 In C Major, Op. 21: Andante cantabile con moto
3. Symphony No. 1 In C Major, Op. 21: Menuetto: Allegro molto e vivace
4. Symphony No. 1 In C Major, Op. 21: Finale: Adagio - Allegro molto e vivace
5. Symphony No. 3 In E Flat Major, Op. 55: Allegro con brio
6. Symphony No. 3 In E Flat Major, Op. 55: Marcia funebre: Adagio assai
7. Symphony No. 3 In E Flat Major, Op. 55: Scherzo: Allegro vivace
8. Symphony No. 3 In E Flat Major, Op. 55: Finale: Allegro molto
Disc: 2
1. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro ma non troppo - Awakening Of Joyful Feelings On Arrival In The Country
2. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Andante molto moto - Scene At The Brook
3. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Merrymaking Of The Country Folk
4. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Thunderstorm
5. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegretto - Pastoral Song. Feelings Of Happiness And Gratitude After The Storm
6. Symphony No. 8 In F Major, Op. 93: Allegro vivae e con brio
7. Symphony No. 8 In F Major, Op. 93: Allegretto scherzando
8. Symphony No. 8 In F Major, Op. 93: Tempo di Minuetto
9. Symphony No. 8 In F Major, Op. 93: Allegro vivace
Disc: 3
1. Symphony No. 2 In D Major, Op. 36: Adagio molto - Allegro con brio
2. Symphony No. 2 In D Major, Op. 36: Larghetto
3. Symphony No. 2 In D Major, Op. 36: Scherzo: Allegro
4. Symphony No. 2 In D Major, Op. 36: Allegro molto
5. Symphony No. 5 In C Minor, Op. 67: Allegro con brio
6. Symphony No. 5 In C Minor, Op. 67: Andante con moto
7. Symphony No. 5 In C Minor, Op. 67: Allegro
8. Symphony No. 5 In C Minor, Op. 67: Allegro
Disc: 4
1. Symphony No. 4 In B Flat Major, Op. 60: Adagio - Allegro vivace
2. Symphony No. 4 In B Flat Major, Op. 60: Adagio
3. Symphony No. 4 In B Flat Major, Op. 60: Allegro vivace
4. Symphony No. 4 In B Flat Major, Op. 60: Allegro ma non troppo
5. Symphony No. 7 In A Major, Op. 92: Poco sostenuto - Vivace
6. Symphony No. 7 In A Major, Op. 92: Allegretto
7. Symphony No. 7 In A Major, Op. 92: Presto
8. Symphony No. 7 In A Major, Op. 92: Allegro con brio
Disc: 5
1. Symphony No. 9 In D Minor, Op. 125: Allegro ma non troppo, un poco maestoso
2. Symphony No. 9 In D Minor, Op. 125: Molto vivace
3. Symphony No. 9 In D Minor, Op. 125: Adagio molto e cantabile
4. Symphony No. 9 In D Minor, Op. 125: 1. Presto - Allegro assai - 2. Presto - Rezitativo - 3. Allegro assai vivace alla marcia - 4. Allegro ma non tanto
评论(15) 收藏(26) 查看完整资源页

Pavel Haas Quartet -《德佛札克：弦乐四重奏OP.106 & OP.96「美国」》(Dvořák：String Quartets Op. 106 & 96)[FLAC]

专辑英文名: Dvořák：String Quartets Op. 106 & 96
专辑中文名: 德佛札克：弦乐四重奏OP.106 & OP.96「美国」
艺术家: Pavel Haas Quartet
古典类型: 室内乐
资源格式: FLAC
发行时间: 2010年10月14日
地区: 美国
语言: 英语
简介:
专辑介绍:
2011留声机大奖年度专辑&最佳室内乐专辑、BBC 音乐杂誌当月最佳专辑(2010.12)
甫以本辑一举拿下2011留声机杂誌大奖室内乐与年度专辑，成立时间虽短，却已经累积丰富而响亮的名声。乐团团名乃是纪念来自捷克的同名作曲家，也是杨纳杰克的得意门生，然而二战时因为犹太人身份惨遭迫害逝於集中营。德佛札克在弦乐四重奏OP.96「美国」即将完稿时曾於笔记上写著「我很满意，彷彿文思泉涌...」。这首於新世界交响曲后不久发表的作品，在音乐史上可说是最优美的四重奏之一，同样也是德佛札克旅居美国时的代表歌曲。「我希望就这么一次，写点什么旋律简单朗朗上口的东西」。美国方面甚至有评论如此盛讚「为什么德佛札克不早点抵达，如此便能在美国谱出更多伟大的音乐」。然而对2002年才成立的帕菲尔哈斯四重奏而言，不管是美国四重奏，或是规模比前者扩大许多，写於1895年德佛札克二度自美返国后的首部作品106号，都是他由衷反应内心的经典代表。若之前没听过这个乐团，请务必现在牢牢记住他们的名字，这将会是你往后CD收藏架上的必备品！
德佛札克：弦乐四重奏OP.106 & OP.96「美国」　Dvorak：String Quartets Op. 106 & 96
专辑编号： SU4038
专辑类型：单CD
发行年份： 2010
国际条码： 0099925403829
音乐家：
Pavel Haas Quartet　帕菲尔．哈斯弦乐四重奏
音乐厂牌： SUPRAPHON
库存状态：有库存
「巴维‧哈斯四重奏对音乐有惊人的詮释能力。」《爱尔兰独立报》以捷克作曲家巴维．哈斯命名，四位年轻捷克乐手带着斯拉夫民族的优雅与热情，组成「最刺激的四重奏组合」（《泰晤士报》）。四重奏推出的首张唱片，除勇夺BBC音乐杂誌2007年最佳新人奖，更获《留声机》最佳室乐大碟奖。巴维．哈斯四重奏自2005年赢得意大利著名的波西亚尼比赛后一举成名，在短短数年内躋身世界顶级四重奏之列，获邀参与爱丁堡国际艺术节、琉森音乐节及BBC逍遥音乐节等盛大音乐活动，且获一致好评。
Source: http://timable.com/en/event/24178 | Copyright © Timable
引用Dvořák* – Pavel Haas Quartet ‎– String Quartets G Major Op. 106 & F Major Op. 96 "American"
Label: Supraphon ‎– SU 4038-2
Format: CD, Album
Country: Czech Republic
Released: 2010
Genre: Classical
Style: Romantic
"I’m satisfied. It went quickly... " Antonín Dvořák jotted down at the end of the sketch for his String Quartet Op. 96. The work, one of the most beautiful quartet pieces in the history of music, originated in America hard on the heels of the “New World” Symphony. I wanted to write for once something very melodious and simple, and I always kept Papa Haydn before my eyes. The American critics lavished it with praise: “Why didn’t Dvořák come here earlier, since he can write such great music in America.” The “American” quartet, and, perhaps to an even greater extent, the subsequent quartet, Op. 106, the first composition Dvořák created after his return from America, are a heartfelt matter for the youthful Pavel Haas Quartet.
In the wake of the previous, highly acclaimed recordings of the complete quartet works of Janáček, Haas and Prokofiev (Classic FM Gramophone Award, BBC Music Magazine Award, MIDEM Cannes Classical Award, etc.), the ensemble displays its outstanding qualities performing the paramount Dvořák pieces too: equilibrium between precision and spontaneity, remarkable interplay and the “solo” potential of all the musicians.
The most popular Dvořák’s chamber repertoire performed by one of the world’s most exciting string quartets.
Sunday Times
14th November 2010
*****
“The Pavel Haas players revel in the turbulence of the opening movement, but they savour the lyricism of the beautiful adagio, the rhythmic energy of the scherzo and the exuberance of the finale’s fiery allegro. Their account of the American Quartet belongs alongside the greatest performances on disc. In this repertoire, they are simply matchless today.”
Gramophone Magazine
December 2010
“The Pavel Haas Quartet play with plenty of feeling and they also relish the rhythmic cut and thrust of the Molto vivace third movement, capturing to perfection the more relaxed Trio's sunny spirit.The final opens to a gentle smile then keys up for some dancing exuberance...there's an abundance of varied drama”
BBC Music Magazine
December 2010
*****
“Throughout, their understanding of the musical argument is exemplary...at every stage the performers respond with both passion and a clear feeling for musical , there are so many details that delight the ear it would be almost impossible to list the all”
Classic FM Magazine
January 2011
***
“there's an arresting energy and atmosphere to the performances and they certainly contain new perspectives...the product is beautifully presented.”
International Record Review
December 2010
“The freshness of the Pavel Haas Quartet's sound and approach is in the main a perfect match for this music: its wide-ranging palette, from intimate whispers to grander, symphonic gestures, is aptly deployed. Its tone is in general sweetly blended, homogenous and with obvious close rapport.”
引用Product Details
Performer: Pavel Haas Quartet
Composer: Antonin Dvorak
Audio CD (November 2, 2010)
Number of Discs: 1
Label: Supraphon
ASIN: B0043XCKJO
7 of 8 people found the following review helpful
Assured, musical performances that fall short of the highest rank
By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on October 30, 2011
Format: Audio CD
This is an acclaimed CD by a group so unknown in the U.S. that some background is helpful. The Gramophone usually favors British artists, so it's surprising that Record of the Year should go to a rising string quartet from the Czech Republic, one that takes its name from a native composer who died tragically in the Nazi camps. But the Pavel Haas Quartet has had a visible profile in London, being one of the BBC's Young Generation artists and giving concerts at Wigmore Hall. A previous recording, of quartets by Haas and Janacek, won the Gramophone's chamber music recording of the year in 2007. The ensemble was founded in 2002 by Veronika Jar'sková, making it one of those rare quartets headed by a woman - she is a powerful presence in the mix. The other members, all from Prague, have conservatory connections in common. The cellist the first violinist's husband.
Now that we are a bit acquainted, what is their Dvorak like? I'd put it in the tradition of prestigious young quartets like the Hagen that make their reputation with powerful, strong playing and uncommon interpretations. The modernist bent can go only so far with Dvorak, of course, a composer of sunlight, melody, and optimism. The early reviewer here at Amazon found the approach of the Pavel Haas too aggressive and the recorded sound irritating. I don't hear either of those flaws. The music-making is intense, certainly, but quite clean, with a nice unanimity of sound. In concert the balance seems to be dominated by the first violin with a relatively recessive cello line. But here the balance is more even; uniformly the Pavel Haas sound sweet in tone, also. The expected mellowness of Czech string playing hasn't been jettisoned.
As for the interpretations, this is where I find the Record of the Year title mystifying. Both the familiar "American" Quartet and the masterful Op. 106 are played with assurance and musicality. But if I heard these readings on the radio, I wouldn't have dropped everything in astonished admiration. Just to make sure that I wasn't feeling jaded, I went back to the Alban Berg Quartet's recordings, and they are far ahead of the Pavel Haas in maturity, technique, and depth of feeling. There's an impersonal quality to these readings that made me lose interest. To my ears, this is an accomplished but not distinguished CD, one that doesn't bid to make much of an impression with new listeners, at least not in the U.S., where this group is all but unknown.
Companies etc
Phonographic Copyright (p) – Supraphon a.s.
Copyright © – Supraphon a.s.
Recorded At – Rudolfinum
Credits
Cello – Peter Jarůšek
Composed By – Antonín Dvořák
Design – Martin Strnad
Engineer [Recording] – Karel Soukeník
Engineer [Sound Assistant] – Václav Roubal
Ensemble – Pavel Haas Quartet
Liner Notes – Jan Kachlík
Liner Notes [Booklet Editor] – Daniela Bálková
Photography By – Marco Borggreve
Producer – Matouš Vlčinský
Recording Supervisor – Jiří Gemrot
Viola – Pavel Nikl
Violin [1st] – Veronika Jarůšková
Violin [2nd] – Eva Karová
Notes
Composed in 1893 (Op. 96; B. 179) and 1895 (Op. 106; B. 192)
Publ: SNKLHU, Praha 1955
Recorded at the Rudolfinum, Prague, on June 3, 6, 29 and 30, 2010
Total time 63:14
℗ 2010 Supraphon a.s.
© 2010 Supraphon a.s.
专辑曲目:
String Quartet No. 13 In G Major, Op. 106 36:37
1. I. Allegro Moderato 9:18
2. II. Adagio Ma Non Troppo 10:13
3. III. Molto Vivace 6:24
4. IV. Finale. Andante Sostenuto – Allegro Con Fuoco 10:34
String Quartet No. 12 In F Major, Op. 96 "American" 26:26
5. I. Allegro, Ma Non Troppo 9:35
6. II. Lento 7:14
7. III. Molto Vivace 3:53
8. IV. Finale. Vivace, Ma Non Troppo 5:33
评论(12) 收藏(8) 查看完整资源页

Argerich & Rabinovitch -《莫札特: 第10, 19, 20号钢琴协奏曲》(Mozart: Piano Concertos Nos.10, 19 & 20)[FLAC]

专辑英文名: Mozart: Piano Concertos Nos.10, 19 & 20
专辑中文名: 莫札特: 第10, 19, 20号钢琴协奏曲
艺术家: Argerich & Rabinovitch
古典类型: 协奏曲
资源格式: FLAC
发行时间: 1999年07月06日
地区: 美国
语言: 英语
简介:
专辑介绍:
◎阿格丽希八岁第一次登台演奏的曲子就是莫札特钢琴协奏曲，他的恩师古尔达（F. Gulda）、史卡拉穆札（Scaramuzza）等人都是以传授和弹奏维也纳古典乐派正宗技巧闻名的大师。
◎这份录音中阿格丽希弹了他最常演奏的莫札特第二十号钢琴协奏曲，第十九号协奏曲则是由经常与她合作双钢琴演出的俄国第一代的低限主义作曲家拉宾诺维奇。
阿格丽希八岁第一次登台演奏的曲子就是莫札特钢琴协奏曲，他的恩师古尔达（F. Gulda）、史卡拉穆札（Scaramuzza）等人都是以传授和弹奏维也纳古典乐派正宗技巧闻名的大师，但是阿格丽希长大后却经常表达她在莫札特弹奏上遭遇的挫折，她就曾经向钢琴同行表达她一直抓不到弹奏莫札特的窍门，这样的话里其实显示，阿格丽希深知莫札特弹奏的深度和难度所在，不像一般人经常小覷这些看似简单的乐曲中的音乐深度。
这份录音中阿格丽希弹了第二十号钢琴协奏曲，这也是她最常演奏的莫札特协奏曲。第十.九号协奏曲则是由经常与她合作双钢琴演出的拉宾诺维奇担任，他同时担任指挥。拉宾诺维奇的本业其实不是钢琴家，而是作曲家，他是莫斯科音乐院主修作曲毕业的，但他的钢琴演奏非常出色，因此常被阿格丽希邀请合作，他是俄国第一代的低限主义作曲家，低限作品非常受到好评，片末第十号双钢琴协奏曲也是他和阿格丽希合作的歌曲。
莫札特: 第10, 19, 20号钢琴协奏曲
Mozart: Piano Concertos Nos.10, 19 & 20
作者／阿格丽希/ 拉宾诺维奇/ 约格法柏 Martha Argerich/Alexandre Rabinovitch/Jorg Faerber/Orchestre di Padova e del Veneto
出版社／华纳国际音乐股份有限公司
出版日期／ 2011/11/18
商品语言／无
　　莫扎特《第十钢琴协奏曲》，降E大调，K365，作于1779年初。这首协奏曲为双钢琴而作，即《双钢琴协奏曲》。共3 个乐章：1.快闆，降F大调，奏鸣曲式。乐队先奏长大的第一主题，由两个形成强烈对比的乐句构成，第一主题呈示之后，轻快的经过句后，出现后来的发展部开头部分的副主题。乐队终止后，由第二小提琴在第一小提琴伴奏下奏副主题，这个副主题三度反复后终止。两架钢琴登场，利用平行二度，装饰与变奏第一主题，呈示副主题后，移成快速音群。然后第二主题出现，也发展成快速音群。发展部先采用呈示部中心的那个副主题，接着利用呈示部中副主题的经过句，形成强烈有力乐句，由两架钢琴的对话方式演奏。新的乐句陆续登场，都由两架钢琴作对话处理，然后在快速音群引导下移向再现部。冉现部中第一主题的后半部以C小调再现，其第二主题与副主题均转回原调，华彩由乐队导向终止。2.行闆，降B大调，中段穿插C小调插入句的三段休。优美的主题由乐队表现后转向第二钢琴，2架钢琴对话平行进行，新旋律在周围陆续登场。中段不断流露出悲伤的旋律，第三段为第一段再现。3.回旋曲，快闆，降E大调。活泼的回旋主题先由弦乐呈示，合奏反复，突然终止于六度属和弦。乐队终止后，第一钢琴上场呈示副主题；第二钢琴以低八度反复，双簧管构成回声。接着回旋主题动机构成的终结乐句上场后，以16 分音符形成的分散和弦及以三连音符构成的乐句，由两架钢琴对话，移向第一插入句。第二插入句由16分音符构成震音音型，以及三连音符构成的旋律，在两架钢琴间不断交换演奏。然后回旋主题和第一插入句再现，利用回旋主题动机谱成的终结乐句上场，导向华彩。这华彩是莫扎特亲笔所作，回旋主题再现而结束。
　　莫扎特《第十九钢琴协奏曲》，F大调，K459，作于1784年末，是献给多瑙埃森根的费尔斯登伯格侯爵，首演于1785年初，此曲手稿上注有“此协奏曲在法兰克福举行皇帝莱奥博二世的加冕典礼时，由作曲家亲任演奏”。共3个乐章：1.快闆，F大调，协奏曲型奏鸣曲。先由乐队呈示进行曲节奏的基本动机，主奏登场后，不久移入第二主题部，先奏C大调主题，接着以基本动机作管乐卡农，转成A小调后终止于C大调，弦乐与管乐对话，钢琴变奏后，基本动机再现。钢琴以三连音符快速音群贯穿其间，移向呈示部小结尾。发展部不断演奏主动机，利用第一主题的对位处理非常精致。再现部华彩乐段有35小节。2.小快闆，C大调，奏鸣曲式的二段体。G大调第二主题实际是第一主题以卡农方式处理而成，G小调经过部旋律木管的处理非常美妙。艾因斯坦认为，此乐章是《费加罗的婚礼》中苏珊娜独唱《喜悦请来临》的器乐版。3.很快的快闆，F大调，回旋曲式。艾因斯坦对这个乐章的评语是：“艾阿利耶鲁统治下所有的精灵的嬉戏”。主题表现后，赋格处理，接着把主题当作副主题效果部分移入第一插句。第二次回旋主题展示后，又出现赋格，基本动机对位处理，産生二重赋格效果。钢琴持续灿烂的快速音群时，移向第二插句，尾奏前有53小节的华彩。
　　莫扎特《第二十钢琴协奏曲》，D小调，K466，作于1785年2月。共3个乐章：1.快闆，D小调，奏鸣曲式。在低音域弱奏中由弦乐合奏呈示的第一主题有不安的情调，终止于属和弦后，由木管转成明亮的旋律，转回主调。钢琴似演奏新主题，边奏细致的快速音群，边进行第一主题再现，转F大调后第二主题登场。主奏钢琴转由木管承接，进入发展部。发展部发展主奏钢琴亮相的主题与第一主题开头动机，以各种转调呈示技巧化，快速音群与乐队构成紧张的关系。再现部第二主题转回D小调，按原型再现，衔接华彩乐段与尾声。2.浪漫曲，降B大调，三段体。先由主奏钢琴呈示主题，乐队承接，二者轮流表现。然后主奏钢琴以降B大调导出另一旋律，弦乐以和弦伴奏，移入主题再现。第一段终止后，中段转G小调，主奏钢琴奏上升音型，木管部回应钢琴，第二段为第一段再现。3.很快的快闆，B小调，缺少发展部的奏鸣曲式。第一主题亦采用极快速度的上升音型，主奏钢琴呈示后，乐队予以反复扩大。主奏钢琴再奏D小调旋律形成经过部，终止于F大调，接着转为F小调，第二主题登场，采用了三度小调。转回主调后直接进入再现部。再现部转换处主奏钢琴有即兴的小引子，乐队插入以快速上升动机为基础的动机表现，然后按原型再现，华彩乐段后转回主调而为尾奏。
引用Performer: Martha Argerich, Alexandre Rabinovitch
Composer: Wolfgang Amadeus Mozart
Audio CD (July 6, 1999)
Number of Discs: 1
Label: Teldec
ASIN: B00000J9HS
Release Date July 6, 1999
Label Teldec
Format CD
Duration 01:19:31
Catalog # 98407
The collaboration between pianists Martha Argerich and Alexandre Rabinovitch has been a fruitful one. They have come together to record the works for two pianos by Brahms, Rachmaninov, and Ravel, to name only a few. Here they combine their talents for a delightful performance of Mozart's Concerto No. 10 in E flat major for two pianos and orchestra, K. 365, which the composer wrote for himself and his sister, Nannerl, in 1779 during his unhappy sojourn in Salzburg.
This concerto is paired with two of the most famous of Mozart's concertos for (one) piano and orchestra, both from his subsequent, cheerier Viennese years: Concerto no 19 in F major, K. 459, and Concerto no 20 in D minor, K. 466. Rabinovitch (who also conducts all three concertos) sits at the piano for the tuneful F major Concerto, which he renders with a fittingly light and playful touch. Argerich takes on the towering D minor Concerto. Virtually anything this pianist touches becomes enthralling, and here the results not only compel, but also listening to her shifting gears to and from the middle section of the second-movement Romance take one's breath away.
专辑曲目:
1. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Allegro
2. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Romance
3. Concerto No. 20 In D Minor For Piano And Orchestra, K. 466: Allegro assai
4. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegro
5. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegretto
6. Concerto No. 19 In F Major For Piano & Orchestra, K. 459: Allegro assai
7. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Allegro
8. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Andante
9. Concerto No. 10 In E Flat Major For Two Pianos & Orchestra, K. 365. (316a): Rondeau: Allegro
评论(41) 收藏(41) 查看完整资源页

Ophelie Gaillard -《梦》(Dreams )[24bits 44.1KHz][FLAC]

专辑英文名: Dreams
专辑中文名: 梦
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 44.1KHz]
发行时间: 2010年01月12日
地区: 美国
语言: 英语
简介:
专辑介绍:
★ 以巴哈无伴奏大提琴组曲专辑，获得法国金音叉大奖以及其他大奖极高的评价的欧菲莉．盖雅尔，可以说是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。
这是张将知名古典乐曲改编给特定乐器演出的专辑，曲目有：棕髮女郎(德布西)、吉诺佩第第一号(萨提)、亲爱的爸爸(普契尼)、孔雀舞曲(佛瑞)、夜曲(萧邦)、马祖卡舞曲(萧邦)、声乐练习曲(拉赫曼尼诺夫)等.. 通俗老少咸宜。
再来要提到美国知名唱片制作人克雷格．里昂，许多膾炙人口的古典和流行唱片皆是由他操刀制作，他本身也是位作曲家。2004 年他为约夏．贝尔打造《小提琴的爱情》专辑，由他一手负责改编多首古典名曲，专辑发行后立即红遍各地（或许你手上也有这张专辑呢）。这次的成功经验也让里昂萌生了新企划「下次何不换大提琴来当主角？毕竟这可是最接近人声的乐器啊。」
法国大提琴家盖雅尔毕业自巴黎高等音乐院(CNSM)，2003 年拿下法国古典音乐大奖最佳年度独奏家。过往在 Ambroisie 公司发行的专辑不仅获得国际媒体青睞，也多次拿下许多唱片大奖，成绩斐然，其后跳槽至 Aparte 的多张专辑同样叫好叫座，是当今法国乐坛实力坚强的大提琴家。
里昂先透过社群网站 MySpace 和盖雅尔接触，等到盖雅尔在伦敦威格摩尔厅举办音乐会时立刻登门造访，促成这次机缘。里昂特地为她改编多首古典乐曲，过往从皮亚悌戈尔斯基到卡萨尔斯等多位杰出大提琴家都有演奏这类改编曲的传统，这次合作正好让盖雅尔能在既有的传统上绽放出更多的新意。
这张专辑并非是常见由钢琴搭配大提琴，而是找来大名鼎鼎的皇家爱乐管弦乐团来伴奏啊，这种等级也太豪华了吧！此外，盖雅尔的演奏乐器是法国工商信贷银行(CIC)大方出借的 1737 年戈夫里勒名琴，经过漫长岁月洗礼，温暖芳醇的琴音自然是 Hold 住全场，名琴配上名门乐团交织而成的音乐美酒，仅有一人独享岂不可惜？这么百搭的专辑，举凡古典入门、閒暇放鬆、无所事事、享用美食、帮助睡眠，无一不可。更何况录音地点是在伦敦最知名的艾比路录音室（披头四、平克．佛洛伊德都曾在这里录音），操刀录音的则是法国顶尖录音师尼可拉．巴托洛梅(Nicolas Bartholomée)，他也是 Ambroisie 的创办人，该厂牌被 Naive 收购后跳出来另外成立 Aparte，没错，就是本辑厂牌创办人。
演出 :
Royal Philharmonic Orchestra 皇家爱乐管弦乐团
Gaillard, Ophelie (cello) 欧菲莉．盖雅尔 (大提琴)
Ophelie Gaillard: Dreams
唱片公司：harmonia mundi
作曲家：德布西，德弗札克
乐团：皇家爱乐管絃乐团
音乐类型：古典音乐
唱片编号：AP001
进口专辑 / CD / 1 片装
演奏家
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近来与她一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。
至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴作品多张专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲，更获得法国金音叉大奖以及其他大奖极高的评价。
幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。盖雅尔的乐器是1737年弗朗切斯可．葛弗瑞勒制作的大提琴。
引用Orchestra: Royal Philharmonic Orchestra
Conductor: Timothy Redmond
Composer: Debussy, Dvorak, Grieg, Bellini, Donizetti, et al.
Audio CD (January 12, 2010)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: APARTE
ASIN: B002OCA00M
Release Date January 12, 2010
Duration 54:40
Genre Classical
Styles Concerto Orchestral
AllMusic Review by Stephen Eddins [-]
Swiss-French cellist Ophélie Gaillard, who has made a name for herself recording some of the most challenging repertoire for her instrument, including the suites of Bach and Britten, turns her considerable talents to lighter fare in this album of transcriptions of short Romantic classics. She is accompanied by the Royal Philharmonic Orchestra, led by Timothy Redmond, in arrangements made by composer and producer Craig Leon, who had created a similar album for violinist Joshua Bell. The pieces include opera arias (from Rusalka, La sonnambula, L'elisir d'amore, and Gianni Schicchi), piano works by Debussy, Satie, and Chopin, and other vocal, instrumental, and orchestral music by Fauré, Rachmaninov, and Tchaikovsky. Almost all are close to the top of charts of the most familiar and broadly popular classical pieces. Gaillard brings a warm, generous tone and creamy legato to this lyrical repertoire. Redmond's thoughtful accompaniments are imaginative and creative in pieces where it would have been easy just to haul out the tried and true, predictable approaches. Leon's arrangements are wonderfully inventive and colorful; he really knows how to make the soloist shine, and the little details of orchestration, particularly in the transcriptions of the piano pieces, add layers of depth that makes his work outstanding. The sound is full-bodied and nicely present, with ideal balance. The album would be a great place to start for listeners just dipping their toes into classical music for the first time and should also appeal to fans of fine cello playing.
Release Date: 01/12/2010
Label: Aparte Catalog #: 1
Composer: Claude Debussy, Antonín Dvorák, Edvard Grieg, Frédéric Chopin, ...
Performer: Ophelie Gaillard
Conductor: Tim Redmond
Orchestra/Ensemble: Royal Philharmonic Orchestra
Number of Discs: 1
Recorded in: Stereo
In Stock: Usually ships in 24 hours.
Ophélie Gaillard
Ophélie Gaillard
Si le dessin est d’une précision calligraphique, le geste souple, direct, emporte l’auditeur dans des mouvements qui ont la fluidité d’un torrent de montagne. » pouvait-on lire dans l’édito du magazine Diapason de juin 2011 (diapason d’or pour les suites de Bach). Et la presse anglo-saxonne de renchérir : « Gaillard mène le peloton » lit-on dans Strad Magazine en août 2011, tandis qu’en 2007 le Times saluait déjà « le doigté de magicienne de Gaillard, un grand cœur lyrique et un kaléidoscope de couleurs. »
Un esprit d’une curiosité insatiable, le goût du risque, un appétit immodéré pour tout le répertoire du violoncelle concertant sans frontières ni querelles de chapelle, voici sans doute ce qui distingue très tôt cette brillante interprète franco-helvétique.
Élue « Révélation soliste instrumental » aux Victoires de la Musique Classique en 2003, elle se produit depuis lors en récital dans les salles les plus prestigieuses.
Enfant du baroque, Ophélie Gaillard se spécialise très tôt dans la pratique du violoncelle ancien et classique, partage la scène avec Christophe Rousset, Emmanuelle Haïm et Amarillis avant de fonder en 2005 Pulcinella, un collectif de virtuoses tous passionnés par l’interprétation sur instruments historiques. Ses enregistrements consacrés à Vivaldi et Boccherini et Bach (airs de cantates avec violoncelle piccolo) reçoivent les plus hautes distinctions discographiques.
Lauréate du concours Bach de Leipzig en 1998, elle grave en 2000 pour Ambroisie une intégrale des Suites de Bach ovationnée par la presse, et réitère l’exercice avec brio en 2011 pour Aparté (« Diapason d’or », sélection de Strad Magazine). Parallèlement, elle est aussi l’interprète privilégiée de compositeurs actuels et enregistre notamment l’intégrale des suites de Britten, et Oraison de Pierre Bartholomée.
Loin de délaisser la musique romantique, Ophélie Gaillard enregistre avec succès les intégrales de Schumann, Fauré, puis Chopin et Brahms.
Elle joue en soliste avec les orchestres de Cannes-Provence-Alpes Côte d’Azur, de la Radio Polonaise sous la direction de Gabriel Chmura, de Picardie sous la direction de Edmon Colomer, l’European Camerata, Franz Liszt de Budapest, le New Japan Philarmonic sous la baguette de Werner Andreas Alpert, le Bangkok Symphony Orchestra, l’Orchestre de Chambre de Moscou, l’Orchestre de Chambre de Toulouse, l’Orchestre de la Radio Roumaine.
Un large public plébiscite son album Dreams réalisé à Londres dans les mythiques studios d’Abbey Road avec le Royal Philharmonic Orchestra.
Pédagogue recherchée, elle donne des masterclasses en Asie, en Amérique latine et centrale, et est invitée à Munich en 2010 à faire partie du jury du concours de l’ARD.
L’on peut l’entendre régulièrement sur les ondes de France Musique, Culture, Inter, Radio Classique, Espace 2, la BBC, Radio 3, et la voir sur France 2, Mezzo ou Arte.
Ophélie Gaillard joue un violoncelle de Francesco Goffriller 1737 généreusement prêté par le CIC, et un violoncelle piccolo anonyme flamand.
www.opheliegaillard.com
*
Her “technical fluency is unimpeachable. Her intonation … is impeccable. She plays with a ripe, absolutely luscious tone. Her use of vibrato is circumspect and period- appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard’s playing keeps the listener aware that, except for the preludes, this is sunny, dance-based music.” So wrote the critic Stephen Eddins (Allmusic) of her recent Bach recording (2011), while back in 2007 The Times hailed her “wizard fingering, big lyrical heart and kaleidoscope of colours”.
An insatiable curiosity, a taste for risk, an immoderate appetite for the whole of the concerted cello repertoire, complete disregard of limits and petty quarrels: those are no doubt the features that have always set this brilliant Franco-Swiss musician apart. Her passion? Working from the sources, inquiring into the text, using her virtuosity to bring out the musical discourse and make the music loved by all.
Voted “Revelation: Solo Instrumentalist of the Year” at the French Classical Music Awards (Victoires) in 2003, she has since appeared in recital at many prestigious venues: Concertgebouw Bruges and Amsterdam; Bozar and Flagey, Brussels; the theatres of Bordeaux, Avignon, Poissy, Aix-en-Provence; the Théâtre du Châtelet in Paris; Oji Hall, Tokyo; London’s Wigmore Hall; and so on.
Ophélie Gaillard is a child of Baroque. She specialised in the Baroque cello from a very early age and for ten years shared the stage with Christophe Rousset, Emmanuelle Haïm and the Amarillis ensemble, amongst others. Then in 2005 she founded Pulcinella, a ‘collective’ of virtuoso soloists. Sharing her passion for performance on period instruments, they have been her regular accomplices ever since.
Ophélie Gaillard has won several prizes in major international competitions, including, most notably, The third prize of the J. S. Bach International Cello Competition in Leipzig in 1998. In 2000 she recorded Bach’s complete Cello Suites for Ambroisie, a recording that was highly acclaimed by the international press. Then in 2011 she repeated the exploit, this time for Aparté, a recording that earned her distinctions from Diapason (Diapason d’Or) and The Strad Magazine. Likewise, her recordings of Vivaldi’s Cello Sonatas and Concertos and the Cello Concertos of Boccherini reaped excellent ratings and several awards.
She also performs works of the twentieth and twenty-first centuries, and has recorded, for instance, Britten’s complete Cello Suites and Piano Sonatas with Vanessa Wagner (Diapason d’Or, Choc du Monde de la Musique) and Pierre Bartholomée’s Oraison for solo cello.
Ophelie Gaillard is also very fond of the Romantic repertoire, which she plays as a soloist with orchestras such as the Japan Philharmonic, the Royal Philharmonic, the Polish Radio Orchestra and the National Radio Orchestra of Romania (Bucharest), the Franz Liszt Chamber Orchestra of Budapest, and the Moscow Chamber Orchestra.
Her recording for Ambroisie of the complete cello works of Schumann with Olivier Peyrebrune, piano, and Eric Speller, oboe, in 1999, and those of Chopin with pianist Edna Stern for Aparté in 2011 were highly acclaimed by the press, while the solo album Dreams (Aparté), made in 2009 at the legendary Abbey Road Studios in London with the Royal Philharmonic Orchestra, proved to be a great public success.At the Paris Conservatoire (CNSM), Ophélie Gaillard studied cello in Philippe Muller’s class, Baroque cello with Christophe Coin and chamber music with Maurice Bourgue, graduating with three premiers prix. She also has a degree in musicology from the Sorbonne and a national teaching diploma (cello). She regularly gives master-classes in Asia and in Latin and Central America, and she also teaches at the Conservatoires of Aulnay-sous-Bois (CRD) and Versailles (CRR).
In 2010 she was invited to sit on the jury for the ARD International Cello Competition in Munich.
She appears regularly on radio (France Musique, France Culture, France Inter, Radio Classique, BBC Radio 3, Espace 2) and television (France 2, Mezzo, Arte).
Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned by CIC, and also an anonymous Flemish violoncello piccolo.
www.opheliegaillard.com
专辑曲目:
01. Debussy : La Fille Aux Cheveux De Lin (Prélude N°8) 2:43
02. Dvorak : Song To The Moon ("Rusalka") 5:39
03. Grieg : Solveig's Song ("Peer Gynt") 3:46
04. Bellini : Ah, Non Credea Mirarti ("La Somnambula") 4:12
05. Donizetti : Una Furtiva Lagrima ("L'Elisir d'Amore") 3:58
06. Puccini : O Mio Babbino Caro ("Gianni Schicchi") 3:41
07. Satie : Gymnopédie N°1 2:57
08. Satie : Gnossienne N°1 3:55
09. Fauré : Pavane Op.50 5:22
10. Fauré : Après Un Rêve 3:01
11. Chopin : Mazurka Op.67 N°4 3:19
12. Chopin : Nocturne Op.9 N°2 4:20
13. Rachmaninov : Vocalise Op.34 N°14 5:28
14. Tchaïkovski : Valse Sentimentale
评论(45) 收藏(36) 查看完整资源页

Freiburger Barockorchester -《巴哈：小提琴协奏曲》(J.S.Bach - Violin Concertos)[24bits 96KHz][FLAC]

专辑英文名: J.S.Bach - Violin Concertos
专辑中文名: 巴哈：小提琴协奏曲
艺术家: Freiburger Barockorchester
古典类型: 协奏曲
资源格式: FLAC
版本: [24bits 96KHz]
发行时间: 2013年03月04日
地区: 美国
语言: 英语
简介:
专辑介绍:
巴哈的管弦作品只有相对少数得以保存至今，为何如此？儘管有许多猜测说法，依旧莫衷一是没有定论。无论如何有一点倒可以确定，巴哈过世后，他的管弦作品就此被覆上遗忘的面纱，这和18世纪中期音乐潮流开始出现巨大转变或许不无关係。但这也让19世纪初投入巴哈复兴运动的人伤透脑筋，他们得大费周章才能将那些连巴哈鑑赏家都不知道的作品重新呈现在世人面前。这个过程不仅旷日废时，还有许多难题得解决。
巴哈的小提琴协奏曲在19和20世纪的音乐生活中也是处於不上不下的尷尬点，当时的大眾热衷於古典和浪漫时期的交响协奏曲，巴哈这种「古早玩意」对他们而言简直过气，许多小提琴大师更是怀疑这些协奏曲真有办法展现自己的表演才华吗？但逐渐的大家也开始认为巴哈的协奏曲反而可以提供另一种近代以来和我们渐行渐远的审美理想。巴哈处理协奏曲的个人手法取自18世纪初的义大利，简而言之就是将独奏部分的动机主题整体放入乐团之中，同时以精巧的对位手法处理层层音乐架构，有时巴哈甚至会将对位的重要性凌驾於协奏原则之上。
根据现存手稿的记载，《A小调协奏曲BWV1041》应是1730年所作，其时巴哈为莱比锡音乐社团的总监，为了乐团每星期在齐玛曼咖啡馆的定期演出，他得不断写出新作品，这首协奏曲很有可能也是因此而生。《E大调协奏曲BWV1042》可能是巴哈担任科腾公国宫廷乐长(1718-23)时的作品，这个集结眾多优秀音乐家的小型乐团在巴哈的调教之下，成为当时首屈一指的乐团；至於《D小调双小提琴协奏曲BWV1043》可以说是巴哈最知名也是最常被演出的作品。
专辑内最后一首《协奏曲BWV1064》的现存版本是写给三台大键琴和管弦乐团(C大调)，但目前各界都认定这个版本的原型是由三把小提琴演奏的D大调协奏曲，可惜原始乐谱已经遗失。不过从现存的大键琴乐谱还是能发现许多原始版本的痕迹，儘管仍有部分无法理解的细节，但要重建原始版本并非难事，这也是本辑的录音版本。
2012年喜迎创团25週年，弗莱堡巴洛克管弦乐团从巴洛克到当代曲目，演出地点从弗莱堡跨足至远东地区，都可说明他们在当今乐坛所佔有的重要地位。该团的艺术信条多年来未曾改变：让创新好奇的每位独立团员在演出作品时都尽可能生动鲜明。本辑担任协奏的佩特拉．穆勒杨丝和哥特佛里德．冯．德．戈尔兹是该团的两位首席，另一位在协奏曲BWV1064献声的安妮－卡
J.S.巴哈：小提琴协奏曲 JS Bach: Violin Concertos BWV1041-1043
唱片编号：HMC902145
唱片公司：上扬
商品单位：1CD
商品条码 : 3149020214527
商品编号 : HMC902145
演奏者 : 弗莱堡巴洛克古乐团 Freiburger Barockorchester - 查看所有专辑
指挥家 :
乐团 :
作曲家 : 巴哈 Bach - 查看所有专辑
专辑名称 : 巴哈：小提琴协奏曲
Bach: Violin Concertos
音乐类型 : 古典音乐 [CD 协奏曲]
发行公司/日期 : 上扬　2013/4/9
制作公司 : harmonia mundi
内含片数 : 1
小提琴协奏辑J.S.Bach - Violin Concertos - Freiburger Barockorchester
表演者: Freiburger Barockorchester / Gottfried von der Goltz / Petra Müllejans / Anne Katharina Schreiber
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2013-03-11
出版者: Harmonia Mundi France
唱片数: 1
条型码: 3149020214527
引用Probably written for the virtuoso Kapelle at Cöthen (BWV1042) or the concerts of the Leipzig Collegium Musicum which the composer often directed himself from the violin, Bach’s three well-known violin concertos are joined here by the splendid Concerto for three violins BWV1064, reconstructed from the surviving version for three harpsichords. A dazzling firework display under the bows of the matchless violinists of the Freiburger Barockorchester.
Freiburger Barockorchester celebrated its 25th anniversary in 2012. A glance at the ensemble’s schedule shows a diverse repertoire played at leading concert halls and opera houses, ranging from the Baroque to the contemporary and from Freiburg to the Far East.
The Freiburgers’ artistic credo, however, remains unchanged and involves assigning demanding solo concertos to players from the orchestra’s own ranks. Cultivated, yet at the same time exciting, ensemble playing has thus become the orchestra’s international trademark.
The FBO collaborates with leading artists such as René Jacobs, Andreas Staier and Thomas Quasthoff and enjoys a close cooperation with harmonia mundi France. The artistic success of this musical partnership has been demonstrated in numerous recordings which have won awards including Edison, Gramophone, ECHO Klassik and a Classical Brit Award.
Under the artistic directorship of its two Konzertmeisters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents around 100 performances per year in a variety of formations from chamber to opera orchestra.
Release Date March 4, 2013
Duration 01:01:28
Genre Classical
Styles Concerto
Recording Date April, 2012
AllMusic Review by James Manheim [-]
Recordings of Bach's violin concertos are not in short supply, but this one, nicely recorded at a small hall in the home city of the Freiburg Baroque Orchestra, is unusually satisfying. It does not exactly break new ground, but it improves on several existing ideas and puts them together into a nifty package. First of all is the program itself. The Freiburgers and their leader/violinists, Petra Müllejans and Gottfried von der Goltz (joined here by Anna-Katharina Schreiber), offer by way of conclusion the Concerto for three violins and orchestra, BWV 1064R, a lost work reconstructed from a later version for harpsichord. This isn't terribly often recorded, and it makes a rousing finale to the lively readings that have come before. The soloists have a distinctive ensemble feel, seeming by way of numerous small details of phrasing to react to one another and to the orchestra with uncommon individuality. The orchestra itself plays period instruments, and it has a nice combination of gutsiness (so to speak) and sheen. Harmonia Mundi's engineering at Freiburg's Paulussaal captures all this in faithful detail, adding one more item to a long list of reasons to choose this release
Performer: Petra Mullejans, Gottfried von der Goltz, Anne Katharina Schreiber
Orchestra: Freiburger Barockorchester
Conductor: Petra Mullejans, Gottfried von der Goltz
Composer: Johann Sebastian Bach
Audio CD (April 9, 2013)
Number of Discs: 1
Format: Import
Label: Harmonia Mundi
ASIN: B00A6U5BDK
This disc is a delight, an aural and musical treat, and a riposte to anyone who may think we already have enough recordings of the Bach concertos. It is beautifully played, stylishly directed and captured in recorded sound of wholesome, natural beauty. It is that sound that provides the disc’s first great pleasure. The impression the listener gets is of being right at the heart of the performance, close up to the instruments while allowing them sufficient room to breathe. The balance is also extremely well captured, making the soloists partners with the orchestra rather than combatants. When the double concerto opens the tutti the sound is warm and rich while open enough to remain transparent. When the soloists enter they emerge from the texture, becoming first among equals rather than grandstanders. The to and fro between orchestra and soloists is made even greater by the fact that the soloists direct the orchestra, thus unifying the performances with stylish wholeness. This partnership is so close that, at times in the A minor concerto it feels as though you are listening to a double concerto here too, so warm is the interplay between the soloist and the orchestra, even down to the individual violinists in the band.
This also helps the tempo selections. First movements are brisk without being wilful, but the slow movements get plenty of room to breathe too. The sublime Largo of the Double Concerto, for example, is given plenty of space to unfold organically with never a hint of rushing or of taking too long. The tempo, like so much else on this disc, just feels completely right, reminding us that this orchestra fosters relationships with soloists and conductors as complementary individuals, doing everything by agreement and accord, something of which Bach himself would doubtless have approved.
There is great beauty to their sound, too. Under some directors I have found the Freiburg Baroque sound to be rather abrasive and unlovely - not here. Instead there is polish to the finished sound without ever sounding manufactured, and I found myself completely taken in.
There is a joyous buoyancy to the E major concerto, the first movement almost bouncing along in its path, while the finale grows into each phrase so as to lift the music from one level to the next. This is partly due to von der Goltz’s organic choice of tempi. Mülljeans brings the same intelligence to the pacing of the A minor concerto, particularly the slow movement which treads the fine line between elegance and liveliness. The finale then swings with all the vigour of a jig, making this a completely satisfying version of the concerto.
The triple concerto is a reconstruction from Bach’s C major for three harpsichords BWV 1064, but in many ways it highlights all the disc’s virtues and sets the seal on it brilliantly. The interplay between soloists and orchestra is even closer here, and at times in the outer movements it is difficult to tell whether it is a soloist or an orchestral violin playing. That is a virtue rather than a problem and it stands as testament to the fraternal music making both of the Freiburg Baroque and Bach’s own concerto-style. The slow movement, by contrast, interweaves the lines of the three violins over a gently ambling continuo line, constructing a peaceful interlude between the busy outer sections.
All told, then, this is a near ideal version of the Bach concertos for anyone who values partnership and cooperation over grandstanding and attention-grabbing. Put it alongside other great period performers like Pinnock, Podger and Koopman. Enjoy it as a worthy complement to classics like Grumiaux, Perlman and Oistrakh.
Simon Thompson
Masterwork Index: Bach violin concertos
JS Bach: Brandenburg Concertos—Freiburger Barockorchester
by Roy Harris on August 15, 2014 · 3 comments
in Classical Recordings
I was listening to a recording of Bach’s Violin Concerto in A Minor, BWV 1041, on WQXR, a public radio station in Manhattan. I was impressed by the beauty of tone of the Baroque violin, played by Petra Mullejans, a concert master of the Freiburger Barockorchester. Her command of the violin was captivating. I requested the CD from Harmonia Mundi. While on the Harmonia Mundi website, I noticed the aforementioned ensemble had issued many recordings, one of which is Bach’s Brandenburg Concertos, released in March of 2014. I requested this set of CDs, too.
Prior to writing this review I researched Baroque performance characteristics. I discovered there are differences between English, French, Italian and German Baroque styles.
Sound
The score of the Brandenburgs has no indications as to dynamics. I am quite familiar with this composition and, therefore, did not expect to experience any significant dynamic contrasts. I was wrong. As I began my audition of this 2 CD set, I first listened to the first concerto. Somewhere during the first movement, I discerned an increase in loudness. I grabbed my Radio Shack SPL meter, set it at 70 DB, and measured a swing of over 20 DB, i.e., from 60 DB to more than 80 DB. I also noted changes in micro dynamics, as I heard variations in loudness from a violin and a trumpet.
Soundstage was always very wide, spanning the entire wall behind my speakers, with precise instrument location. I could hear all instruments distinctly, even as some were playing louder than others, as well as noting foreground and background relationships, between the concertino and the ripieno. In addition, as a consequence of the high level of resolution and instrumental separation, I heard the articulation of the double bass, as well as greater bass presence.The effect was to add warmth and fullness to the sound of the ensemble.
The concertino is a group of instruments, which have solo parts within each concerto. One hears them in the foreground, while the rest of the ensemble (the ripieno) acts as accompanying instruments in the background.
Considering the size of the ensemble—no more than about 20 musicians playing per concerto, I did not expect to observe much depth. Where depth was noticeable was during the second movement of the fourth concerto.
Perhaps the most notable character of the sound, which in my opinion qualifies it as an “audiophile” recording, was the combination of extremely high levels of resolution, in conjunction with accurate timbre and a full-bodied instrument perspective. In this respect, this recording is one of a handful in my experience which can present the fullness of a baroque trumpet and the natural, but somewhat thin sound of a Baroque violin. The Baroque violins emphasized string tone relative to the sound of the vibrating wood body. Light pressure on the bow did not cause much vibration of the wood body.
The effect of the naturalness of instrumental timbre with the revelation of detail of articulation and intonation of all instruments, created the illusion that one was listening to the ensemble fairly close to the musicians at the recording venue. I will add, that on this occasion, my favorite instrument, the harpsichord was not masked or buried by the sound of other instruments—kudos to the recording engineer.
Frequency response was always balanced, and I could not detect any flaws of a sonic nature.
Performance
The Freiburger Barockorchester’s performance followed most of the protocols of standard German Baroque style. The ensemble was precise and cohesive avoiding the slurring of notes.
The Baroque violinists applied light pressure to the strings, creating a staccato effect, throughout most of the concertos. While there were some instances of legato, I observed them mainly during the playing of the fourth concerto.
The melodic line of each concerto was very clear and transparent, a result of tight ensemble playing and superior sound quality of the recording, and there were no abrupt changes in tempo.
The solos in each concerto were executed with a high degree of skill and virtuosity, especially at faster tempos. It is a credit to the professionalism of the ensemble to play difficult passages, while preserving the melodic line, maintaining constancy of rhythm and compsure, and avoiding errors, especially at a fast pace.
Compared to other versions of the Brandenburg Concertos, ornamentation was less frequent, shorter in duration more subtle, and less ostentatious. Violins, recorders and the harpsichord were the instruments which usually exhibited ornamentation.
Tempos within each movement rarely varied, except during the third movement of the fourth concerto, resulting in a continuous rhythmic pulse.
Tempos were slightly faster than usual. I compared timings of each concerto between The Freiburger’s version and those of other versions. I discovered that on average, The Freiburger Barockorchester was one minute faster on each concerto. The increased speed created a bracing and spirited feeling and was most stimulating, but might require careful attention from a listener, unfamiliar with these concertos, to observe subtle details and ornamentation effects. I had no difficulty following all aspects of the performance, in spite of the faster tempos.
After listening to all six concertos, I had the impression that the performers were restraining themselves, avoiding dazzling virtuosity, pyrotechnics, or dramatic displays of technique (unless scored), to avoid distracting the listener and keeping the attention on the melodic content of the music. It is also possible that their stylistic approach was based upon their artistic vision of how the music should be performed.
There was one occasion where an instrumentalist displayed excellent technique and virtuousity, especially playing at a fast tempo. I am of course referring to the cadenza during the first movement of the fifth concerto. Playing so fast, the harpsichordist demonstrated his fleet and accurate fingers during a brilliantly played solo, which was first improvised by Bach and then scored.
专辑曲目:
Johann Sebastian Bach
Concerto for two violins BWV 1043in D minor / ré mineur / d-Moll
01. I. Vivace 3'35
02. II. Largo ma non tanto 7'20
03. III. Allegro 4'40
Violin Concerto BWV 1042in E major / Mi majeur / E-Dur
04. I. Allegro 7'33
05. II. Adagio 6'08
06. III. Allegro assai 2'38
Violin Concerto BWV 1041in A minor / la mineur / a-Moll
07. I. 3'50
08. II. Andante 6'11
09. III. Allegro assai 3'35
Concerto for three violins BWV 1064Rin D major / Ré majeur / D-Dur
10. I. 6'05
11. II. Adagio 5'40
12. III. Allegro 4'13
评论(21) 收藏(11) 查看完整资源页

Ophelie Gaillard -《黎明～西班牙、南美与巴西音乐》(Alvorada)[24bits 96KHz][2 CD][FLAC]

专辑英文名: Alvorada
专辑中文名: 黎明～西班牙、南美与巴西音乐　
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 96KHz][2 CD]
发行时间: 2015年04月06日
地区: 美国
语言: 英语
简介:
专辑介绍:
http://www.qobuz.com/es-en/album/alvorada-...28059625
「很久很久以前，有一把大提琴，他的主人临时决定去度长假，把它遗留在家中昏暗的角落。他对唯一的朋友——一隻爱笑的小鸟说，希望自己能够有朝一日独自踏上小径去旅行。小鸟听了，决定帮助大提琴实现他的梦想，便带他远离都市，来到森林深处，与大树相遇......」
来自法国的大提琴演奏家欧菲莉．盖雅尔从小时候就非常喜爱这则童话故事，并承诺以后绝不会自己一个人跑走，把大提琴一直禁闭在琴箱之中。这则童话故事，也在盖拉德幼小的心灵中种下热爱旅行的种子，现在，盖雅尔不管走到哪，都会带著她的大提琴，与世界各地的人展开心灵对话。
正因为盖雅尔想要与大家分享旅途中的喜悦，她在这张最新专辑以浓厚的拉丁风情，为大家带来异国情调，同时也让大家沈浸在小酒馆的氛围与怀旧乡愁之中。伊比利半岛有著迥异於法国、义大利与德国的音乐传统，无论其宗教音乐与贵族音乐，都无法与民间音乐切割，像是具有佛朗明哥色彩的方当果舞曲（或译凡丹戈）便是最有名的例子，后世西班牙作曲家，如法雅等等，其音乐都深受此传统影响。此外，方当果舞曲受法国行列舞影响后，传入古巴，发展成为伦巴、哈瓦内拉等音乐，进而演变成森巴、探戈等。
或许您对盖雅尔已经知之甚详，但这等如此优秀的音乐家请容我们为您多介绍一次：毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近年与一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲(Aparte, AP017)，更获得法国金音叉大奖以及其他大奖极高的评价。幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。盖雅尔的乐器是1737年弗朗切斯可．葛弗瑞勒制作的大提琴。
除了欧菲莉．盖雅尔精湛的大提琴演奏，本片还集结眾多歌手、手风琴、打击乐等演奏家，特别是连曾经获得拉丁葛莱美奖终身成就奖的Bossa Nova之神托奇纽(Toquinho)也赫然名列其中，足见阵容皆是一时之选。演奏曲目从法雅的《七首西班牙民歌》、皮亚佐拉的探戈，裘宾的Bossa Nova，到维拉－罗伯斯的《巴哈风巴西舞曲第五号》，包罗万象，为您带来长达110分鐘的拉丁风情，体验意乱情迷的音乐之旅！
黎明～西班牙、南美与巴西音乐　Alvorada (Ophélie Gaillard, cello)
专辑编号： AP104
专辑类型：双CD
发行年份： 2015
国际条码： 3149028059625
音乐家：
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
音乐厂牌： Harmonia Mundi
GAILLARD, OPHELIE [所有作品]
产品条码： 3149028059625
产品编号： AP104
发行公司： LITTLE TRIBECA [发行商品]
发行日期： 2014年01月01日
产品制造地：欧美 .
发行类型：大提琴 . 室内乐 . 古典 . CD .
内装片数： 1片
欧菲莉.盖雅尔 [黎明]
欧菲莉.盖雅尔 <黎明>
Ophlie Gaillard <Alvorada>
Ophlie Gaillard (大提琴)
AP104 (2 discs)
CD
古典音乐
(HK$185)
引用'Alvorada' or an invitation to travel with cellist Ophélie Gaillard and her magical cello: a musical tour from Spain to Latin America (Brazil, Argentina, Cuba) featuring, in particular, the composers Villa-Lobos, Granados, Piazzolla and Jobim.
In an exceptional mixture of classical pieces and arrangements of the greatest themes of this intense music, the cello sings with the bandoneon, dances with the piano, guitar or percussion, and abandons itself in amorous intimacy with the voices.
'Alvorada' immerses us in a sound universe where the feverish energy of the rhythms of this Hispanic and South-American music entrances us and from which a sensual nostalgia responds to a dizzying tango. All the senses are aroused when hearing these spellbinding songs and rhythms.
"Some years ago in Seville, basking in the heat of the afternoon sun and still dazzled by the multi-coloured tiles in the streets of the old city, I was sitting under the majestic trees in the exquisite garden of Casa de Pilatos and began to toy with the idea of one day being able to share the feelings and revelations I had enjoyed in my many journeys through southern parts—both in the course of my frequent tours of Spain but also throughout Latin America. With only my cello for travelling-companion, I visited the four corners of the globe, often playing the Catalan master Gaspar Cassadó’s cello sonata, a living metaphor for Spain, his native territory. From the very first note, we are standing on the hard-baked earth of Andalusia under a burning sun. The silvery olives, gnarled and desiccated though they are, bear wondrous fruit; the scent of the orange trees and jasmine invades our senses so recently wakened from the depths of a stolen siesta as we sit beneath an arbour by a Mozarabic fountain. Cassadó’s piece was the inspiration that engendered this recording, albeit in secret, and allowed me to fulfil my deep wish to touch your hearts with the vivid impressions and emotions I experienced in the course of my travels. To share this dream, I needed to surround myself with outstanding musicians, each one of them alive to all the nuances of their respective art and traditions, deeply-rooted and yet free to go where they pleased and open to every suggestion." Ophélie Gaillard
2 disks - 27 tracks - Total length: 01:48:51
Includes: 1 Digital booklet
Main artist: Ophélie Gaillard
Composer: Baden Powell
Label: Aparté
Genre: Classical > Chamber Music > Cello Solos
© 2015 Aparté
Distinctions : 5 de Diapason (May 2015)
Alvorada
Ophélie Gaillard
Hi-Res 24-bit – 96.00 kHz
Includes: 1 Digital booklet
Released on March 30, 2015 by Aparté
Main artist : Ophélie Gaillard
Genre : Classical > Chamber Music > Cello Solos
Distinctions : 5 de Diapason (May 2015)
Original Release Date: April 6, 2015
Release Date: April 6, 2015
Number of Discs: 2
Label: Aparté
Copyright: Aparté
Total Length: 1:48:53
Genres: Classical
ASIN: B00U0MK7EW
Ophélie Gaillard – Alvorada (AP104)
Music by Villa-Lobos, Granados, de Falla, Piazzolla, Jobim, Cassado …
Ophélie Gaillard, violoncelle
Sabine Devieilhe, soprano
Toquinho, chant
Sandra Rumolino, chant
Cyril Garac, violon
Juanjo Mosalini, bandonéon
Romain Lecuyerr, contrebasse
Luiz de Aquino, Rudi Flores, Emmanuel Rossfelder, guitar
Sandrine Chatron, harpe
Nicolas Genest, trompette
Fabien Cyprien, trombone
David Chupete, Florent Jodelet, Rubens Celso Lopes, Christian Paoli, percussions
Gerardo Di Giusto, Gabriel Sivak, Fernando Maguna, piano
Simao Alcoforado Barreira, Ana Catarina Braga, Anne-Charlotte Dupas, Clémence Issartel, Esther Lefebvre, Hugo Paiva, Laure Zaugg, violoncelle
Gabriel Sivak, arrangements
www.opheliegaillard.com
Available/Sortie le 7 avril 2015.
Distribution: Harmonia Mundi
ALVORADA ou l’invitation au voyage de la violoncelliste Ophélie Gaillard et de son violoncelle magique, à un périple musical de l’Espagne à l’Amérique du Sud (Brésil, Argentine, Cuba).
Dans un mélange exceptionnel de pièces classiques et d’arrangements des plus grands thèmes de ces musiques sulfureuses, le violoncelle chante avec le bandonéon, danse avec le piano, la guitare et les percussions, s’abandonne dans une intimité amoureuse avec les voix.
ALVORADA nous plonge dans un univers sonore o l’énergie frénétique des rythmes de ces musiques hispaniques et sud-américaines nous met en transe, de laquelle surgit une nostalgie sensuelle et à laquelle répond un tango vertigineux. Tous les sens sont en éveil à l’écoute de ces chants et rythmes envoutants.
La couleur du soleil, de l’aube à son coucher, se retrouve dans le savant mélange né de l’alternance de ces pièces universelles et enchanteresses.
Tous les musiciens exceptionnels (Sabine Devieilhe, Toquinho, Sandra Rumolino, Juanjo Mosalini, Rudi Flores, Emmanuel Rossfelder, Gabriel Sivak…) participant au voyage ALVORADA nous hypnotisent, nous fascinent et nous permettent de les accompagner, à chaque instant, dans ce cheminement de rêve proposé par OPHELIE GAILLARD.
*
ALVORADA or the invitation to the voyage of cellist Ophélie Gaillard and her magical cello, a musical tour from Spain to Latin America (Brazil, Argentina, Cuba) featuring, in particular, the composers Villa-Lobos, Granados, Piazzolla and Jobim.
In an exceptional mixture of classical pieces and arrangements of the greatest themes of this intense music, the cello sings with the bandoneon, dances with the piano, guitar or percussion, and abandons itself in amorous intimacy with the voices.
ALVORADA immerses us in a sound universe where the feverish energy of the rhythms of this Hispanic and South-American music entrances us and from which a sensual nostalgia responds to a dizzying tango. All the senses are aroused when hearing these spellbinding songs and rhythms.
The colour of the sun, from dawn to dusk, is found in the clever alternation of these enchanting, universal pieces.
All the exceptional musicians (Sabine Devieilhe, Toquinho, Sandra Rumolino, Juanjo Mosalini, Rudi Flores, Emmanuel Rossfelder, Gabriel Sivak…) participating in the ALVORADA voyage hypnotize and fascinate us, allowing us to accompany them at every instant in the progression of this dream proposed by OPHÉLIE GAILLARD.
专辑曲目:
CD 1
Manuel de Falla
01. Siete canciones populares espanolas, IV. Jota 3'26
02. Siete canciones populares espanolas, V. nana 2'41
Enrique Granados
03. Goyescas, Intermezzo 4'05
Juan Carlos Cobian
04. Nieblas del riachuelo 3'53
Carlos Cachaca
05. Alvorada 4'10
06. El Manisero 3'30
Isolina Carillo
07. Dos Gardenias 4'57
08. Nada 3'54
09. agua e vinho 3'48
10. Escualo 4'06
Astor Piazzolla
11. Oblivion 3'58
12. Grand tango, tempo di tango 3'26
13. Grand tango, meno mosso 3'50
14. Grand tango, piu mosso 3'26
15. Nostalgias 4'58
CD 2
Julian Plaza
01. Payadora 4'14
02. Romantica 3'36
Alfredo Gobbi
03. A orlando goni 3'58
Toquinho
04. Tarde em itapua 3'00
Tom Jobim
05. Wave 4'07
Heitor Villa-Lobos
06. O canto do cisne negro 2'54
07. Bachiana brasileira No. 5 5'41
pau casals
08. El cant dels ocells 3'00
09. Suite pour violoncelle seul, I. prelude-fantasia 5'35
10. Suite pour violoncelle seul, II. sardana-danza 4'30
11. Suite pour violoncelle seul, III. intermezzo e danza finale 5'54
12. Berimbau 4'12
评论(3) 收藏(0) 查看完整资源页

Ophelie Gaillard, Ensemble Pulcinella -《巴哈咏叹调集》(Bach Arias)[24bits 88.2Khz][FLAC]

专辑英文名: Bach Arias
专辑中文名: 巴哈咏叹调集
艺术家: Ophelie Gaillard, Ensemble Pulcinella
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 88.2Khz]
发行时间: 2012年12月03日
地区: 法国
语言: 英语
简介:
专辑介绍:
MilHaud 古典谬思客：倾听法国的录音美学
法国录音大师尼克拉·巴托洛梅（Nicolas Bartholomée）说道：“ 对我来说，好的录音就是不会引起注意的录音。我研究如何呈现出最自然的音色。Pour moi, une bonne prise de son est une prise de son qui ne se remarque pas. Je recherche le plus de naturel possible dans le rendu des timbres.”
法国女大提琴家欧菲莉·盖拉德：巴哈咏叹调集
录音：Nicolas Bartholomée & Hannelore Guittet
千呼万唤～这张由法国 Aparté 发行，以法国著名女大提琴家欧菲莉·盖拉德（Ophélie Gaillard）为首演出，在去（2012）年年底发行的专辑（编号 AP031），国内代理商终於进到货了。去年年初盖拉德发行的舒曼大提琴协奏曲（编号 AP045）似乎没有激起非常大的涟漪后，同年底发行了这张巴哈咏叹调集（Bach: Arias），曲目选择上旋律优美到不行的芭乐曲。
这张专辑演奏阵容真的是大卡司，除了盖拉德本人外，也带出了她组的巴洛克演奏团体普钦内拉（Pulcinella）参与演出，另外，也邀请了法国大厂 Naive 台柱之一的女高音 Sandrine Piau 及男高音 Emiliano Gonzalez-Toro、男中音 Christophe Dumaux 等助阵。
录音制作阵容上，因为盖拉德是 Aparté 的台柱之一，创办人尼古拉斯·巴塞洛繆（Nicolas Bartholomée）当然亲力亲为，除了担任制作人（Producer）外，也与一手拉拔并延揽到自己所属 Little Tribeca 录音团队底下的女弟子 Hannelore Guittet 共同负责录音工程（Engineer）及混音（Mixing）的部分，而这次录音竟然也出现了助理（Sound Assistant）Maximilien Ciup 这位在过去制作阵容没出现过的录音师，看来巴塞洛繆应该又找到能手了。专辑动用了三位录音师护持，可想而知 Aparté 是多么看重这张专辑了。
引用Bach Arias / Pulcinella, Ophelie Gaillard
Bach,J.s. / Gaillard / Piau / Pulcinella
Release Date: 02/12/2013
Label: Aparte Catalog #: 45 Spars Code: DDD
Composer: Johann Sebastian Bach
Performer: Sandrine Piau, Christophe Dumaux
Conductor: Ophelie Gaillard
Orchestra/Ensemble: Pulcinella
Number of Discs: 1
Recorded in: Stereo
Low Stock: Currently 3 or fewer in stock. Usually ships in 24 hours, unless stock becomes depleted.
Release Date: December 3, 2012
Label: Aparté
Copyright: © 2012 Aparté
Total Length: 1:07:24
Genres: Classical
ASIN: B00AM95K04
Performers:
Sandrine Piau (soprano),
Christophe Dumaux (alto),
Emiliano Gonzalez Toro (tenor)
Ensemble Pulcinella & Ophélie Gaillard (cello, direction)
On this breathtaking album, dedicated to the Cantor of Leipzig, Ophelie Gaillard has gathered her close team from the Pulcinella Ensemble and invited some of the most talented soloists: Sandrine Piau, Emiliano Gonzalez Toro and Christophe Dumaux. This program features the most astounding cantatas written by Johann Sebastian Bach from 1723 to 1750, interspersed with some of the masterpieces from the Schubler Chorales and Orgelbuchlein.
BACH Arias
Mein gläubiges Herze, BWV68, Choral Schübler, BWV645 n°1, Woferne du den edlen Frieden, BWV41, Ich, dein betrübtes Kind, BWV199, Jesus ist ein guter Hirt, BWV85, Ach bleib bei uns, Herr Jesu Christ, BWV6, Ich bin herrlich, ich bin schön, BWV49, Es dünket mich, ich sehe dich kommen, BWV175, Choral Schübler, BWV 650 n°6, Bete aber auch dabei, BWV115, Ich fürchte nicht des Todes Schrecken, BWV183, Es ist vollbracht, BWV159, Ich ruf’ zu dir, Herr Jesu Christ, BWV639, Georg Melchior HOFFMAN Schlage doch gewünschte Stunde, BWV53
Sandrine Piau [soprano]
Christophe Dumaux [alto]
Emiliano Gonzalez Toro [tenor]
Ensemble Pulcinella
Ophélie Gaillard [cello, direction]
Ophelie Gaillard has made recently a deep impression with the Suites for cello solo by Jean-Sebastian Bach. On this new recording, dedicated to the Cantor of Leipzig, she gathered her close team from the Pulcinella Ensemble and invited some of the most talented soloists: Sandrine Piau, Emiliano Gonzalez Toro, Christophe Dumaux.
This programme gives a vision of the most beautiful cantatas written by Jean-Sebastian Bach in Leipzig from 1723 to 1750, interspersed with some of the masterpieces from the 'Schübler' Chorales and Orgelbüchlein.
With a passion for Baroque music played on period instruments, Pulcinella is a group of virtuoso soloists, gathered in a chamber spirit around cellist Ophélie Gaillard. Highly experienced musicians, who attach great importance to sound and articulation, they explore some of the major works of the repertoire, while aiming to present little known or unknown pieces as well.
Part of Pulcinella’s repertoire is devoted to important 17th- and 18th-century works for concerted cello, of which it is one of the foremost ambassadors. The ensemble’s first recording, devoted to Vivaldi’s complete Cello Sonatas (on Ambroisie) was highly acclaimed by the international press in 2006. The following year its tribute (with Sandrine Piau and Rolf Lislevand) to the cellist and composer Luigi Boccherini also received excellent reviews, including praise from The Times.
Pulcinella works with singers including Nuria Rial, Salomé Haller, Sandrine Piau, Max Emmanuel Cencic, Xavier Sabata, Christophe Dumaux, Carlos Mena, Dietr ich Henschel, Emiliano Gonzalez Toro, who are among its guests at major festivals, such as those of Saint-Denis, Beaune, and Santiago de Compostela, and at venues such as the Cité de la Musique and the Théâtre du Châtelet in Paris.
Aparte AP045
专辑曲目:
Johann Sebastian Bach (1685-1750)
01. Mein gläubiges Herze, BWV 68 (3:49)
02. Choral Schubler, BWV 645 No. 1 (3:46)
03. Woferne du den edlen Frieden, BWV 41 (8:45)
04. Ich, dein betrubtes Kind, BWV 199 (2:07)
05. Jesus ist ein guter Hirt, BWV 85 (3:15)
06. Ach bleib bei uns, Herr Jesu Christ, BWV 649 (4:20)
07. Ich bin herrlich, ich bin schon, BWV 49 (4:46)
08. Es dunket mich, ich seh dich kommen, BWV 175 (3:21)
09. Choral Schubler, BWV 650 No. 6 (3:58)
10. Bete aber auch dabei, BWV 115 (7:23)
11. Ich furchte nicht des Todes Schrecken, BWV 183 (7:53)
12. Es ist vollbracht, BWV 159 (4:52)
13. Ich ruf' zu dir, Herr Jesu Christ, BWV 639 (2:32)
14. Schalge doch, gewunschte Stunde, BWV 53 (6:42)
评论(12) 收藏(5) 查看完整资源页

Paul O’Dette -《我最喜欢的约翰道兰》(My favorite Dowland )[FLAC]

专辑英文名: My favorite Dowland
专辑中文名: 我最喜欢的约翰道兰
艺术家: Paul O’Dette
古典类型: 全集作品
资源格式: FLAC
发行时间: 2014年05月05日
地区: 美国
语言: 英语
简介:
专辑介绍:
美国著名鲁特琴演奏家保罗奥戴特在20年前为Harmonia Mundi录制《约翰道兰鲁特琴作品全集》，在这之后，保罗奥戴特不时反覆思索这位作曲家音乐的精髓所在，现在，保罗奥戴特以他这几年获得的领悟，重新詮释约翰道兰23首经典作品。道兰在世时，曾反覆修订自己的作品，因此同一作品留下多种曲谱版本。身兼演奏家与音乐学者身分的保罗奥戴特，仔细推敲何种版本最接近作曲家原意，因此奥戴特决定採用道兰亲自编修的《Varietie of Lute Lessons》作为演奏依据。为了展现道兰音乐深沈内省的音乐特制，奥戴特特别使用体积较大的八弦组鲁特琴，并採用A=392的定调，以低沉的音色展现道兰音乐贴近灵魂深处的特质。
出生於美国哥伦布市的奥戴特，原本在摇滚演奏电吉他的他，因为一次与鲁特琴音乐的邂逅，便爱上了这个古老的乐器，前往古乐的重镇──瑞士巴赛尔古乐学院修习鲁特琴。他的《约翰道兰鲁特琴作品全集》多次获得法国金叉奖的肯定，让他成为詮释约翰道兰音乐最具代表性的演奏家。这次录制的新专辑，更是融合奥戴特对约翰道兰的喜爱以及长时间淬鍊下的体悟结晶，相信将为您带来更为扣人心弦的演奏！
专辑编号： HMU907515
专辑类型：单CD
发行年份： 2014
国际条码： 0093046751524
音乐家：Paul O'Dette, lute　保罗．奥戴特, 鲁特琴
音乐厂牌： Harmonia Mundi
库存状态：有库存
商品条码 : 0093046751524
商品编号 : HMU907515
演奏者 : 保罗奥戴特 Paul O`Dette - 查看所有专辑
指挥家 :
乐团 :
作曲家 :
专辑名称 : 我最喜欢的约翰道兰
My favorite Dowland
音乐类型 : 古典音乐 [CD ]
发行公司/日期 : 上扬　2014/5/13
制作公司 :
内含片数 : 1
产品条码： 0093046751524
产品编号： HMU907515
发行公司： HARMONIA MUNDI [发行商品]
发行日期： 2014年01月01日
产品制造地：欧美 .
发行类型：吉他 . 室内乐 . 古典 . CD .
内装片数： 1片
引用Release Date May 5, 2014
Duration 01:15:09
Genre Classical
Styles Chamber Music
Recording Date January, 2012
Performer: Paul O'Dette
Conductor: None
Composer: John Dowland
Audio CD (May 13, 2014)
Number of Discs: 1
Format: Import
Label: Harmonia Mundi
ASIN: B00H287O7K
AllMusic Review by Blair Sanderson [-]
One of the world's foremost lutenists, Paul O'Dette is a leading authority on the music of John Dowland, the Elizabethan lute composer par excellence, and this album of favorites, freshly recorded for Harmonia Mundi, is a great introduction for newcomers. Many of the selections are popular and frequently recorded, such as the poignant Lachrimae (which Dowland based on his song, Flow, my tears), and his signature work, Semper Dowland, semper dolens. But O'Dette's album is less a greatest-hits compilation and more of a personal selection of pieces that have had special meaning to him. O'Dette has played Dowland over four decades, and he recorded the complete works for lute in the 1990s for Harmonia Mundi, so his relationship with the music has been long and fruitful. This CD is a reflection on the pieces he has most enjoyed playing and range from the melancholy plaints that were Dowland's stock in trade, to mirthful dances and insightful portraits. Some charming pieces to sample include My Lady Hunnsdon's Puffe (track 1), A Coye Joye (track 15), and The most sacred Queene Elizabeth, her Galliard (track 22), which show the brighter side of the famously gloomy Dowland.
CD My favorite Dowland Paul O'Dette
Paul O’Dette’s newly recorded personal selection of favorite pieces from the pinnacle of lute repertoire by “the Liszt of the lute.”“... maketh a man to be wholly Musiques …” – Thomas Lodge on John Dowland, A Learned Summary (1621)
MY FAVORITE DOWLAND • Paul O’Dette (lt) • HARMONIA MUNDI 907515 (75:23)
This is a curious choice for a new album by Paul O’Dette for Harmonia Mundi. Not because there’s anything unusual about recording more Dowland, whose status as the most popular of lute composers remains unassailed. Rather, I’m surprised the company hasn’t chosen to rerelease from its vaults the “complete” Dowland for lute that O’Dette recorded for them two decades ago. It was issued at the time on five discs, and is currently available through U.S. distributors as a Read more
It’s not an unwelcome one, in any case. O’Dette is an excellent musician, with a command of both the technique and style to bring this kind of thing off easily. His knowledge of the repertoire is extensive (see above). Rather than exactly repeat himself, he’s decided to select a tuning of A=392, on a larger lute than he usually applies to Dowland, giving the darker works a greater gravitas. The famed Lachrimae is two whole tones higher on the deleted second volume of his series (Harmonia Mundi 907161); My Lady Hunnsdon’s Puffe and Walsingham (Harmonia Mundi 907162), a whole tone higher. On the whole, I prefer the earlier versions in the lighter material, such as The Right Honourable the Lady Cliftons Spirit , where the higher pitch, and stronger accenting, give the work greater energy. The heavier, more melancholy works, though, benefit from the darker coloration.
O’Dette has decided to use later versions in all 23 cuts here, including many from the 1610 Varietie of Lute Lessons issued by the composer’s son Robert, and over which Dowland himself had supervision. Which isn’t to say that these versions are any more authoritative than other performing versions, including O’Dette’s; for in an age where the score was the spirit of the law, rather than the letter, a tastefully realized performance was the goal, however much it varied according to performer, instrument, and audience. There’s literal evidence of this in his direct juxtaposition of Lachrimae, and Galliard to Lachrimae.
This is one of the best-sounding releases by O’Dette in a while. It has the closeness and lightly reverberant acoustic to bring out the full tone of his instrument that were part of his earlier Dowland series as well. Each note remains distinct, however, throwing the spotlight on the lutenist’s clean, even production and fine phrasing.
Top marks, then, and worthwhile even if Harmonia Mundi does decide to reissue all five volumes of O’Dette’s fine set.
专辑曲目:
01. My Lady Hunnsdon's Puffe (P54)
02. The Shoemaker's Wife. A Toy (P58)
03. La Mia Barbara (P95)
04. Sir John Smith, His Almain (P47)
05. A Fancy (P6)
06. Sir John Langton, His Pavin (P14)
07. The King of Denmark, His Galliard (P40)
08. Frog Galliard
09. Lachrimae (P15)
10. Galliard to Lachrimae (P46)
11. Fantasie (P1a)
12. Farewell (P3)
13. Forlorne Hope Fancye (P2)
14. The Right Honourable Robert, Earl of Essex, His Galliard (P42a)
15. A Coye Joye (P80)
16. Mrs Vaux's Gigge (P57)
17. Mrs Winter's Jump (P55)
18. The Right Honourable the Lady Cliftons Spirit (P45)
19. Walsingham (P67)
20. A Fancy (P5)
21. A Pavin (P18)
22. The Most Sacred Queene Elizabeth, Her Galliard (P41)
23. Semper Dowland Semper Dolens (P9)
评论(17) 收藏(7) 查看完整资源页

Ophelie Gaillard -《舒曼和李斯特》(Schumann & Liszt)[24bits 88.2KHz][FLAC]

专辑英文名: Schumann & Liszt
专辑中文名: 舒曼和李斯特
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 88.2KHz]
发行时间: 2012年06月12日
地区: 法国
语言: 英语
简介:
专辑介绍:
演奏家
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近来与她一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。
至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴作品多张专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲，更获得法国金音叉大奖以及其他大奖极高的评价。
幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。盖雅尔的乐器是1737年弗朗切斯可．葛弗瑞勒制作的大提琴。
GAILLARD, OPHELIE [所有作品]
产品条码： 3149028016123
产品编号： AP031
发行公司： HARMONIA MUNDI [发行商品]
发行日期： 2012年04月13日
产品制造地：欧美 .
发行类型：乐团 . 大提琴 . 钢琴 . 协奏曲 . 钢琴独奏 . 古典 . CD .
内装片数： 1片
引用Schumann & Liszt / Ophelie Gaillard, Delphine Bardin, Tiberiu Soare
Schumann / Liszt / Gaillard / Soare
Release Date: 06/12/2012
Label: Aparte Catalog #: 31 Spars Code: n/a
Composer: Robert Schumann, Franz Liszt
Performer: Ophelie Gaillard, Delphine Bardin
Conductor: Tiberiu Soare
Number of Discs: 1
Recorded in: Stereo
Length: 0 Hours 51 Mins.
Performer: Ophelie Gaillard, Delphine Bardin
Conductor: None
Composer: Robert Schumann
Audio CD (June 12, 2012)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: APARTE
ASIN: B0072A4HXW
Release Date April 2, 2012
Duration 50:30
Genre Classical
Styles Chamber Music
Ophélie Gaillard (cello) & Delphine Bardin (piano)
Schumann’s Cello Concerto was long regarded as a minor achievement; it has also been accused of treating the solo instrument unfavourably. As is often the case with the compositions of Schumann’s middle and late periods, interpreters must to understand its singularity in order to bring it out. It is thanks to great performers such as the legendary cellist Pablo Casals, for whom Schumann’s Cello Concerto was “one of the finest works one could wish to hear – sublime music from beginning to end”, that this work now at last has its rightful place in the repertoire.
Although relations between Schumann and Liszt were often clouded by Clara’s lack of understanding, and even jealousy, Liszt recognised his friend’s genius better than anyone, and at Weimar conducted scores that had not been understood when they were first performed. We do not know whether or not Liszt knew the Cello Concerto, but he was reliant on transcriptions as a source of incme. Ophélie Gaillard has chosen five pieces for cello and piano: two were originally songs with piano accompaniment written in his youth; the other three pieces, dating from the end of Liszt’s life, show the soberness and bold language that characterise his late works. Although a Baroque specialist, Gaillard is also very fond of Romantic repertoire. Her recording for Ambroisie of the complete cello works of Schumann, Fauré, then Chopin were highly acclaimed by the press, while the solo album Dreams (Aparté), made at the legendary Abbey Road Studios in London with the Royal Philharmonic Orchestra, proved to be a great public success.
Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned to her by CIC, and also an anonymous Flemish violoncello piccolo.
Schumann: Cello Concerto
Liszt:
Elegie No. 1, S130
Elegie No. 2, S131
Romance oubliée, for viola/cello/violin & piano, S. 132
Die Zelle in Nonnenwerth, S382
La Lugubre Gondola for cello & piano, S134
Schumann:
Cello Concerto in A minor, Op. 129
Orchestre de la Radio Nationale de Roumanie, Tiberiu Soare
Performer: Ophelie Gaillard, Delphine Bardin
Conductor: None
Composer: Robert Schumann
Audio CD (June 12, 2012)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: APARTE
ASIN: B0072A4HXW
Schumann’s Cello Concerto was long regarded as a minor achievement; it has also been accused of treating the solo instrument unfavourably. As is often the case with the compositions of Schumann’s middle and late periods, interpreters must to understand its singularity in order to bring it out. It is thanks to great performers such as the legendary cellist Pablo Casals, for whom Schumann’s Cello Concerto was “one of the finest works one could wish to hear – sublime music from beginning to end”, that this work now at last has its rightful place in the repertoire.
Although relations between Schumann and Liszt were often clouded by Clara’s lack of understanding, and even jealousy, Liszt recognised his friend’s genius better than anyone, and at Weimar conducted scores that had not been understood when they were first performed. We do not know whether or not Liszt knew the Cello Concerto, but he was reliant on transcriptions as a source of incme. Ophélie Gaillard has chosen five pieces for cello and piano: two were originally songs with piano accompaniment written in his youth; the other three pieces, dating from the end of Liszt’s life, show the soberness and bold language that characterise his late works.
Although a Baroque specialist, Gaillard is also very fond of Romantic repertoire. Her recording for Ambroisie of the complete cello works of Schumann, Fauré, then Chopin were highly acclaimed by the press, while the solo album Dreams (Aparté), made at the legendary Abbey Road Studios in London with the Royal Philharmonic Orchestra, proved to be a great public success.
Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned to her by CIC, and also an anonymous Flemish violoncello piccolo.
Release Date April 2, 2012
Duration 50:30
Genre Classical
Styles Chamber Music
专辑曲目:
Robert Schumann
1. I _ Allegro 11:20
2. II _ Adagio 4:06
3. III _ Finale 7:44
Franz Liszt
4. Premiere 5:01
5. Deuxieme 4:44
6. Romance 3:27
7. Die _ Zelle 5:30
8. La _ Lugubre 8:22
评论(13) 收藏(9) 查看完整资源页

Ophelie Gaillard -《C.P.E.巴哈：大提琴协奏曲、汉堡交响曲》(C.P.E Bach Project - Aparte)[24bits 96KHz][FLAC]

专辑英文名: C.P.E Bach Project - Aparte
专辑中文名: C.P.E.巴哈：大提琴协奏曲、汉堡交响曲
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 96KHz]
发行时间: 2014年07月04日
地区: 法国
语言: 英语
简介:
专辑介绍:
法国音叉唱片奖
演奏家
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近来与她一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。
至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴作品多张专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲，更获得法国金音叉大奖以及其他大奖极高的评价。
幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。盖雅尔的乐器是1737年弗朗切斯可．葛弗瑞勒制作的大提琴。
C.P.E.巴哈：大提琴协奏曲、汉堡交响曲　C.P.E. Bach Project - Sonate pour violoncelle、Concerto, Etc
专辑编号： AP080
专辑类型：单CD
发行年份： 2014
国际条码： 3149028042221
音乐家：
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
音乐厂牌： Harmonia Mundi
库存状态：有库存
引用"This programme presents a portrait, on the tercentenary of the composer's birth, of Carl Philipp Emanuel Bach (1714-1788), who was probably the most gifted of the sons of the famous Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. 'A musician cannot move others unless he is himself moved: it is essential for him to experience all the moods he wishes to arouse in his listeners. […] In languid, sad places, he will become languid and sad; this must be both audible and visible.' For Carl Philipp Emanuel Bach, music had to be an expression of personal feelings. To achieve his aim, he did not hesitate to revolutionise the established principles of form, harmony and rhythm. His compositions are very personal and very free, with sudden changes of key, uneven phrase lengths and strong and unexpected contrasts, so that his music constantly holds the listener's attention. The Trio Sonata 'Sanguineus und Melancholicus' is a rarity in the composer's output in that it is a quasi-programmatic work. It presents a conversation between two persons, the one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia no. 5 to the two brilliant cello concertos. With this revolutionary music, we find ourselves a whirl of emotions! Under the bow of cellist Ophélie Gaillard, at the head of the virtuosic Pulcinella Orchestra, these pieces come as a revelation!"
C P E Bach
Project
Sonata 'Sanguineus et Melancholicus',
Sinfonia in B min Cello Concertos WQ 172 & 170
Ophélie Gaillard [cello]
Pulcinella Orchestra
A portrait, on the tercentenary of the composer's birth, of Carl Philipp Emanuel Bach (1714-1788), probably the most gifted of the sons of Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. For CPE Bach, music had to be an expression of personal feelings and to achieve his aim, he revolutionised the established principles of form, harmony and rhythm. The Trio Sonata 'Sanguineus und Melancholicus' is a rarity in the composer's output in that it is a quasi-programmatic work. It presents a conversation between one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia No. 5 to the two brilliant cello concertos. Under the bow of cellist Ophélie Gaillard, at the head of the Pulcinella Orchestra, these pieces come as a revelation!
Aparte AP080
Release date: 07-04-2014
Format: CD
Genre: Classical
Catalogue Number: AP080
Label: Aparte
Era: Classical
Composer: Bach, Carl Philipp Emanuel
专辑曲目:
Cello Concerto in A minor, Wq. 170 (H. 432)
01. Allegro assai 10'25
02. Andante 7'21
03. Allegro assai 6'40
Sinfonia no. 5 in B minor, Wq. 182 (H. 661)
04. Allegretto 3'49
05. Larghetto 2'13
06. Presto 3'46
Cello Concerto in A major, Wq. 172 (H. 439)
07. Allegro 6'18
08. Largo 7'51
09. Allegro assai 5'09
Trio Sonata in C minor for two violins and continuo, Wq. 161 (H. 579)
10 Allegretto - Presto 5'00
11 Adagio 4'35
12 Allegro 8'52
评论(24) 收藏(15) 查看完整资源页

Ophelie Gaillard -《巴哈：第1~6号大提琴组曲》(Bach Cello Suites)[24bits 96KHz][2 CD][FLAC]

专辑英文名: Bach Cello Suites
专辑中文名: 巴哈：第1~6号大提琴组曲
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 96KHz][2 CD]
发行时间: 2011年06月14日
地区: 法国
语言: 英语
简介:
专辑介绍:
本品已绝版，请改订Ophélie Gaillard 2011年於Aparté发行的新录音版本 (编号AP017)
巴哈六首无伴奏大提琴组曲乃学术界公认的大提琴曲目基石，它们大约写於1720年左右他担任柯坦宫廷乐长任内，写曲对象据称是多才多艺的器乐演奏家阿贝尔。这些乐曲在孟德尔颂重新发现巴哈的风潮之中并未受到重视，直到卡萨尔斯1890年在巴赛隆纳二手乐谱店里找到乐谱并热心推广，到了二十世纪才膾炙人口。基本上，每首组曲都由前奏曲搭配五个舞曲所组成，莎拉邦德舞曲为精神中心，而结尾必定是愉快的吉格舞曲。
本辑独奏者欧菲莉．盖拉德是巴黎国立高等音乐院三项首奖毕业的高材生，也曾赢得1998年莱比锡国际大提琴大赛的铜牌。她小时候就听过大提琴大师托特里耶讲述巴哈这些经典名作舞曲里面的「故事」，而且深刻难忘，因此特别採用巴洛克大提琴拉奏，亲自将美丽故事传达给新世代爱乐者。由於表现精彩，立即获得法国数家主流音乐杂誌的最高评价。
专辑编号： AMB9926
专辑类型：双CD
音乐家：
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
音乐厂牌： Ambroisie
库存状态：已绝版
定价： $1,050.00
特价： $980.00
专辑编号： AP017
专辑类型：双CD
国际条码： 0794881993024
音乐厂牌： Harmonia Mundi
库存状态：有库存
巴哈：第1~6号大提琴组曲 - BWV1007~1012 (2CD)
Johann Sebastian Bach: Cello Suites / Ophelie Gaillard (2CD)
唱片公司：harmonia mundi
作曲家：巴哈
音乐类型：古典音乐
唱片编号：AP017
进口专辑 / CD / 2 片装
引用Release Date June 14, 2011
Duration 02:16:40
Genre Classical
Styles Chamber Music
Recording Date September, 2010 - October, 2010
"The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player's idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach's sublime music. This 2010 version is French cellist Ophélie Gaillard's second recording of the suites, the first made a decade earlier when she was in her mid-twenties. For the most part Gaillard's take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard's technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard's playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun."
Bach: Cello Suites / Ophelie Gaillard
Bach / Gaillard
Release Date: 06/14/2011
Label: Aparte Catalog #: 17 Spars Code: DDD
Composer: Johann Sebastian Bach
Performer: Ophelie Gaillard
Number of Discs: 2
Recorded in: Stereo
In Stock: Usually ships in 24 hours.
AllMusic Review by Stephen Eddins [-]
The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player's idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach's sublime music. This 2010 version is French cellist Ophélie Gaillard's second recording of the suites, the first made a decade earlier when she was in her mid-twenties. For the most part Gaillard's take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard's technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard's playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun. It's in some of the preludes where the idiosyncrasies of her interpretation may lose some listeners. The Prelude to the First Suite, consisting entirely of sixteenth note figures, is an interpretive challenge and it's one of the movements to which performers have applied the widest range of rhythmic freedom. Gaillard puts heavy emphasis on the downbeats and frequently sustains them for twice their written length, and she brings a similar approach to the Prelude of the Fourth Suite. Depending on the listener's perspective, her playing of these movements may come across as either expansively elastic or weirdly distended.
A factor that's almost inevitably an issue in recordings of such intimate music for solo string instruments, and sometimes string chamber music, is the clear audibility of strings slapping the soundboard and the player's breathing. In almost any live performing situation, these would not be heard because those sounds don't tend to carry, and an audience member sitting even in the first row would be unlikely to notice them, so a recording is an unfortunately unnatural way to experience this music. The extraneous sounds are only minimally distracting here; Gaillard's breathing, while not annoying or always audible, can sound labored, as if she were working very hard, and that seems to contradict the apparent ease and flexibility of her playing. Otherwise, the acoustic is very fine, with a detailed, spacious, and nicely resonant ambience.
Performer: Ophélie Gaillard
Composer: Johann Sebastian Bach
Audio CD (June 14, 2011)
SPARS Code: DDD
Number of Discs: 2
Label: APARTE
ASIN: B004NWHV6W
CD Cello Suites Ophélie Gaillard
Ophélie Gaillard revisits the Suites of J. S. Bach
In his six Suites for unaccompanied violoncello, J. S. Bach invented a style that is specific to that instrument, while exploring all its technical possibilities to the full. Over the years, the Suites have become a monument of the cello repertoire, to which all cellists return regularly. Some of the greatest of them did not record these works until they reached their years of maturity (Casals was over sixty, Rostropovich was sixty-three), while others have not hesitated to present several versions (Yo-Yo Ma, 1990, 1998; Janos Starker, 1957, 1963, 1983).
Ophélie Gaillard is among the latter. Her first recording of the Suites, released on the Ambrosia label in 2000, was highly acclaimed internationally by the critics and her performance earned her a French Classical Music Award (Victoire) as a "Revelation" in the Solo Instrumentalist category.
Ten years later, at the request of Nicolas Bartholomée, artistic director of the label, she agreed to record a new version on a cello made in 1737 by Matteo Goffriller, a contemporary of J. S. Bach. Ophélie Gaillard had already given us a reference performance of these pieces. Now we discover a prodigiously renewed vision of this masterpiece."
专辑曲目:
CD 1
Johann Sebastian Bach
Suite nº1 in G major, BWV 1007
01. Prélude 2'41
02. Allemande 4'36
03. Courante 2'39
04. Sarabande 2'41
05. Menuets I et II 3'14
06. Gigue 1'48
Suite nº2 in D major, BWV 1008
07. Prélude 3'56
08. Allemande 3'44
09. Courante 2'06
10. Sarabande 4'25
11. Menuets I et II 2'50
12. Gigue 2'47
Suite nº3 in c major, BWV 1009
13. Prélude 3'54
14. Allemande 3'58
15. Courante 3'06
16. Sarabande 3'37
17. Bourrées I et II 3'35
18. Gigue 3'23
CD 2
Suite nº4 en mi bemol majeur / in E flat major, BWV 1010
01. Prélude 4'34
02. Allemande 4'37
03. Courante 3'26
04. Sarabande 4'02
05. Bourrées I et II 4'56
06. Gigue 2'51
Suite nº5 en ut mineur / in C minor, BWV 1011
07. Prélude 6'11
08. Allemande 5'40
09. Courante 2'24
10. Sarabande 2'54
11. Gavottes I et II 4'43
12. Gigue 2'11
Suite nº6 en re majeur / in D major, BWV 1012
13. Prélude 4'54
14. Allemande 7'29
15. Courante 3'49
16. Sarabande 4'38
17. Gavottes I et II 4'29
18. Gigue 4'30
评论(65) 收藏(29) 查看完整资源页

Ophelie Gaillard & Edna Stern -《萧邦》(Frederic Chopin)[24bits 44.1KHz][FLAC]

专辑英文名: Frederic Chopin
专辑中文名: 萧邦
艺术家: Ophelie Gaillard & Edna Stern
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 44.1KHz]
发行时间: 2010年04月16日
地区: 法国
语言: 英语
简介:
专辑介绍:
Chopin, Frederic (1810-1849)萧邦
波兰钢琴家，作曲家。
(各种钢琴曲二百首)
波兰钢琴诗人萧邦的父亲生於法国南希，1787年移居波兰华沙，和当地没落贵族的千金结婚，生下两个女儿后才生下萧邦。少年的他在母爱温柔的照顾下成长，双亲很快就发现了他的音乐天赋，开始让他学琴。由於常往农村渡假，可以自然地接到当地的民俗和风情，虽在未成年时就离开波兰，仍成为国民音乐的詮释者，后来更成为一代乐派的宗师。萧邦的重要作品计有27、25首前奏首首练习曲、21首夜曲、4首叙事曲、4首即兴曲、4首詼谐曲、15首圆舞曲、15首波兰舞曲、56首马厝卡舞曲、3首奏鸣曲、2首协奏曲及5首轮旋曲
Ophelie Gaillard & Edna Stern Play Chopin
萧邦 : 大提琴奏鸣曲 / 欧菲莉．盖雅尔(大提琴) 埃德娜．斯特恩(钢琴)，Ophelie Gaillard & Edna Stern play Chopin (CD)
商品标签：OPHELIE GAILLARD / 欧菲莉．盖雅尔 / Edna Stern / 埃德娜．斯特恩
商品集合：古典音乐 CD
商品类型：CD
商品厂商：LITTLE TRIBECA
NT$450
Ophelie Gaillard
音乐家：
Ophélie Gaillard (cello) 欧菲莉．盖雅尔 (大提琴)
Edna Stern (piano) 埃德娜．斯特恩, 钢琴
Ophelie Gaillard
毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近来与她一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。
至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴作品多张专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲，更获得法国金音叉大奖以及其他大奖极高的评价。
幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕育而生的法国大提琴乐派正统继承人。盖雅尔的乐器是1737年弗朗切斯可．葛弗瑞勒制作的大提琴。
Edna Stern 埃德娜．斯特恩 - 比利时裔以色列钢琴家
She was born in Belgium, but raised in Israel. She began to play the piano at the age of six. She studied piano under Viktor Derevianko and Natasha Tadson at the Rubin Academy of Music and Dance in Tel Aviv.
Afterwards she studied at the Chapelle Royale Reine Elisabeth in Brussels, and studied with Martha Argerich. In 1996 she moved to Basel, Switzerland, where she studied for four years as a student of Krystian Zimerman. Later on she took part in masters courses in piano at the International Piano Academy Lake Como under Alicia de Larrocha, Dimitri Bashkirow, Andreas Staier, and Leon Fleisher.
She followed Fleisher to the Peabody Institute of the Johns Hopkins University, in Baltimore, Maryland, for a year. In 2000 she won the international competition, Senigallia, and in 2001 the Juventus Award.
In 2003 she moved to Paris, where she began playing the fortepiano and to deliver historically informed period performances.[1][6]
She has played the gamut from the works of J.S. Bach to contemporary keyboard music, on many different pianos as called for by the stylistic and historic needs of the music.[1] An example is her 2010 album of Chopin's solo piano works, which she played on the 1842 Pleyel piano in the collection of the Musée de la Musique, in Paris.
Her first CD, Chaconne, was named the best CD of 2005 by Arte.
Since September 2009 she has been teaching at the Royal College of Music in London.
Frederic Chopin (1810-1849)
Sonata in G minor for cello and piano, op. 65
1 Allegro Moderato
2 Scherzo (Allegro con Brio)
3 Largo
4 Finale (Allegro)
5 Prelude in A minor, op.28 n。2
6 Nocturne in G major, op. 37 n。2*
7 Prelude in E minor, op.28 n。4
8 Nocturne in G minor, op. 37 n。1
9 Introduction & Polonaise brillante in C major, op.3
10 Nocturne in E minor, op. 72 n。1
11 Waltz in A minor, KK IVb n。11
引用Label: Aparté
Catalogue No: AP003
Discs: 1
Release date: 26th April 2010
Barcode: 0794881955725
Length: 62 minutes
Medium: CD (download also available)
Release Date April 13, 2010
Duration 01:02:09
Genre Classical
Styles Chamber Music
Recording Date September, 2009
Edna Stern has been teaching at the Royal College of Music in London since September 2009. Her playing has prompted Diapason to say “Her piano playing bears the mark of three great pianists who formed her and of whom she managed to create an improbable synthesis : The panache of Martha Argerich, the musicality of Leon Fleisher and the impeccable finish of Krystian Zimerman.”
Forthcoming releases from Ophélie Gaillard will include Dreams: a collaboration with producer Craig Leon, whose album for Joshua Bell of transcriptions for violin and orchestra was unanimously acclaimed.
Artist: Edna Stern (Pno)
Artist: Ophelie Gaillard
Artist: Ophélie Gaillard (Vc)
Composer: Frederic Chopin
Composer: CHOPIN Frederic (1810-1849)
Liner Note Translation: Mary Pardoe
Mastering: Virginie Lefebvre
Balance Engineer: Nicolas Bartholomée
Record Label: Aparte
Recording Producer: Nicolas Bartholomée
Liner Notes: Alain Duault
Liner Notes: Olivier Fadini
Editing: Virginie Lefebvre
Photography: Caroline Doutre
引用CHOPIN Cello Sonata. Introduction and Polonaise brillante. Nocturnes: in e, op. 72 (arr. Stern and Gaillard); in g, op. 37/1; in G, op. 37/2. Preludes: in a, op. 28/2 (arr. Stern and Gaillard); in e, op. 28/4 (arr. Stern and Gaillard). Read more (arr. Stern and Gaillard) • Ophélie Gaillard (vc); Edna Stern (pn) (period instruments) • APARTÉ AP003 (62:16)
This is a very satisfying album, pairing two highly attuned artists. Ophélie Gaillard is a beautiful cellist. She plays with a lovely, somewhat tangy tone that is expressively produced in every register. She, like Edna Stern, is a somewhat reticent player. Gaillard never tries to bowl you over with high volume, unlike Yo Yo Ma. One hears in her tone and phrasing, perhaps, the influence of Casals. Gaillard plays a 1737 Goffriller cello, here with an 1840 bow. There is no reference to the type of strings used. I recently had the pleasure of reviewing Edna Stern’s solo Chopin recital on Naïve. After studying the modern piano with Martha Argerich, Krystian Zimerman, and Leon Fleisher, Stern in 2003 began work on the fortepiano under the guidance of Patrick Cohen. The 1843 Pleyel piano she plays on this CD features leather covered hammers; one rarely is aware of its being a percussive instrument. The Pleyel was Chopin’s favorite piano. In it one hears on this album Chopin’s preference for subtlety and singing phrasing. It is an instrument with warmth and decorum.
From the beginning of the Cello Sonata, you are particularly aware of the special balance between the instruments. This piano cannot overpower the cello. Rather, the two instruments speak with equal voices. Chopin appropriately premiered the sonata at a private concert for a few friends, including Delacroix. The cellist on that occasion also played part of it for the composer two days before his death. One of the features of the first movement in Gaillard and Stern’s hands is the exquisitely blended soft playing. In structure, the movement has elements of a fantasy. The cello seems to depict the part of a wanderer in a romantic dramatic scene. For Chopin, the cello here performs almost as an instrumental surrogate for the human voice.
The remaining three movements of the sonata are shorter altogether than the whole first movement is. The A section of the Scherzo sounds like a Schumannesque folk dance, sort of a character piece. The B section here is played lushly and passionately, truly con brio . In the Largo, Gaillard and Stern trade the melody between them with great sensitivity, creating an intimate dialogue. In the finale, both players avoid the temptation to become overindulgent in phrasing or dynamics. Their performance here has a pleasing sobriety, rendering the movement of a piece with the rest of the sonata. I think that, as sound, this recording is an ideal representation of how the sonata would come across on these instruments in a modest-sized room. If you must have the power of a modern piano, I am very fond of the recording by Ofra Harnoy and Cyprien Katsaris, but I suspect I will be returning more often to Gaillard and Stern.
The other original work for cello and piano on this album, the Introduction and Polonaise brillante , receives a reading that is both elegant and spirited. The virtuosity of the two players sounds so easy as to be taken for granted. Edna Stern also performs the two nocturnes of op. 37. In No. 1, the A section is pensive, while the B section has a gravitas that the drone-like bass of the Pleyel enhances. No. 2 features soft, luminous playing; the voicing of the chords has warmth. Gaillard and Stern also have arranged four solo piano pieces for cello and piano. The two preludes are not completely successful transcriptions. Although the cello here is well showcased, the restriction of the piano part to the harmony alone seems uncharacteristic of the composer. The transcriptions of the op. 72 Nocturne and the Waltz No. 11 succeed beautifully, as the two instrumentalists play off the melody between them. This performance of the waltz invites a reference to Schumann’s critical judgment that it is “a waltz more for the soul than for the body.” If you like transcriptions of this sort, I strongly recommend Ruggiero Ricci’s CD of Chopin nocturnes transcribed for violin and piano.
The recorded sound, from IRCAM in Paris, is natural, and the instruments are placed in a realistic relationship to each other. This CD is my first opportunity to hear Chopin’s chamber music on period instruments. It has enriched my view of the composer, making him seem altogether more companionable and a little less formidable. One tends to think of Schubert as being lovable, but not Chopin. This album redresses that balance.
专辑曲目:
01. Sonata in G minor for cello and piano, Op. 65~Allegro Moderato (15:12)
02. Sonata in G minor for cello and piano, Op. 65~Scherzo (Allegro con Brio) (05:12)
03. Sonata in G minor for cello and piano, Op. 65~Largo (03:01)
04. Sonata in G minor for cello and piano, Op. 65~Finale (Allegro) (06:25)
05. Prelude in A minor, Op. 28, No. 2 (02:18)
06. Nocturne in G major, Op. 37, No. 2 (05:53)
07. Prelude in E minor, Op. 28, No. 4 (02:23)
08. Nocturne in G minor, Op. 37, No. 1 (06:11)
09. Introduction & Polonaise beillante in C major, Op. 3 (08:54)
10. Nocturne in E minor, Op.72, No. 1 (04:10)
11. Waltz in A minor, KK 4b, No. 11 (2:30)
评论(6) 收藏(9) 查看完整资源页

101 Strings Orchestra -《伟大的施特劳斯圆舞曲》(The Great Strauss Waltzes )[WV]

专辑英文名: The Great Strauss Waltzes
专辑中文名: 伟大的施特劳斯圆舞曲
艺术家: 101 Strings Orchestra
古典类型: 全集作品
资源格式: WV
发行时间: 1994年02月01日
地区: 美国
语言: 英语
简介:
专辑介绍:
101 Strings Orchestra
由David L. Miller於1952年创办的The 101 Strings
在约三十年中灌录超过一百张唱片, 指挥是Wilhelm Stephan
101位乐师, 其实用上了124件弦乐器, 成员中除了弹竖琴的女乐师之外, 全是男性。
约翰‧史特劳斯二世(Johann Strauss Jr.)
翠堤春晓/The Great Waltz
影片年份：1938
出品国：美国
出　　品：
演员：路易丝•赖纳 Luise Rainer、Fernand Gravey、Miliza Korjus
剧情简介
　　本片是关於奥地利作曲家——「华尔滋王」约翰•施特劳斯的音乐传记片。主要介绍了施特劳斯因酷爱音乐而被解雇后专门从事华尔滋舞曲的创作，他的舞曲得到古典派的蔑视，但同时也得到平民的欢迎，及有关他与妻子波蒂和皇家歌剧院卡拉•唐纳之间的三角关係。
「皇帝」圆舞曲，作品437/Kaiser-Walzer Op.437
　　「皇帝」圆舞曲被认为是小约翰史特劳斯最重要的作品之一。通常他的作品都题献给某人，但此曲并没有呈献的对象。乐曲创作於一八八九年，同年十月在柏林由德皇威廉二世所举办的王宫花园舞会，由史特劳斯亲自指挥首演。此曲採用维也纳圆舞曲的传统型式，由序奏、四首小圆舞曲，以及结尾所组成。在序奏的部份呈现典礼一般的进行曲气氛，庄严而辉煌。
史特劳斯：「春之声」圆舞曲，作品410/Voices of Spring (Waltz) Op.410
　　一八八三年二月小约翰‧史特劳斯来到匈牙利首都布达佩斯，在一次晚宴上，女主人与素有「钢琴的帕格尼尼」之称的李斯特表演了四首联弹作为餘兴节目。小约翰‧史特劳斯便根据他们弹奏的曲子，即兴编成了这首华尔兹舞曲。当时小约翰‧史特劳斯正打算第三度结婚，愉快的心情溢於谱表。完成后小约翰将此曲献给钢琴家Alfred Grunfeld，因为他经常将小约翰的华尔兹舞曲改编以钢琴演奏，到处推广。后来为轻歌剧「蝙蝠」编写脚本的作家Richard Genee为此曲填上了歌词，成为声乐曲。
蓝色多瑙河
　　谈到维也纳便让人联想到「蓝色多瑙河」圆舞曲，而此曲更是维也纳新年音乐会不可或缺的曲目，而此曲更被誉为是非正式的奥地利国歌。若说此曲是小约翰史特劳斯一生中最重要、最受欢迎、最著名的作品应该没人会反对，因为此曲自从一八六七年在维也纳首演以来即成为小约翰史特劳斯的招牌曲目，曲中韵味十足、充满才气，相信这是它大获成功的原因。
引用Audio CD (4 Dec. 2000)
Number of Discs: 1
Format: Import
Label: Emporio/Mci
ASIN: B000024C0J
Category: Music » Instrumental Music » Orchestral
Format: CD Learn more about the CD format using Tower WIKI.
Release Date: February 1, 1994
Number of Discs: 1
Label: Emporio
UPC: 5014797160583
WAPI (Tower ID): 106787617
专辑曲目:
01. Tales From The Vienna Woods 3:48
02. Blue Danube Waltz 3:29
03. Emperor Waltz 4:29
04. Treasure Waltz 5:26
05. Perpetual Motion 2:56
06. Die Fledermaus Overture 4:24
07. Roses From The South 3:32
08. Wine, Women And Song 3:32
09. Acceleration Waltz 3:19
10. Thousand And One Nights 6:07
11. An Artist's Life 3:29
12. Village Swallows 2:59
13. Tric Trac Waltz 2:55
14. Voices Of Spring 5:01
15. Radetsky Waltz 2:29
16. Tennessee Waltz 2:24
17. Pizzicato Waltz 1:52
18. Hawaiian Magic Waltz 2:39
评论(32) 收藏(24) 查看完整资源页

Ophelie Gaillard -《鲍凯里尼:马德里》(Madrid - Pulcinella)[APE]

专辑英文名: Madrid - Pulcinella
专辑中文名: 鲍凯里尼:马德里
艺术家: Ophelie Gaillard
古典类型: 全集作品
资源格式: APE
发行时间: 2007年10月23日
地区: 法国
语言: 英语
简介:
专辑介绍:
演奏家
Gaillard, Ophelie (cello)　欧菲莉．盖雅尔 (大提琴)
毕业自巴黎国立高等音乐院，1998年莱比锡国际巴哈大赛第三名。之后率领自创的阿玛莉莉斯(Amaryllis，孤挺花之意)横扫三项国际大赛优胜。除了室内乐领域之外，近来与她一手创立并亲自担任音乐总监的古乐团体「丑角(Pulcinella)」积极在各地演出并推出录音专辑。
至今为止发行过巴哈无伴奏大提琴组曲、布列顿无伴奏大提琴组曲与大提琴奏鸣曲、舒曼、佛瑞等大提琴作品多张专辑，获得各界一致好评。值得一提的是2010年，暌违11年后她再度录了一份新版的巴哈无伴奏大提琴组曲，更获得法国金音叉大奖以及其他大奖极高的评价。
幅员宽广的曲目和杰出的技术、丰富的音乐性让她在近年评价窜升，也迅速累积了不少世界各地的死忠乐迷，甚至可以说她是傅尼叶、托特里耶一脉孕
Boccherini - Madrid / Piau, Lislevand, Pulcinella, Gaillard Dualdisc
商品条码 : 0822186001264
商品编号 : AM126
演奏者 : Ophelie Gaillard - 查看所有专辑
指挥家 :
乐团 :
作曲家 : 鲍凯里尼 Boccherini - 查看所有专辑
专辑名称 : 鲍凯里尼:马德里
Boccherini:Madrid
音乐类型 : 古典音乐 [CD 独奏曲]
发行公司/日期 : 上扬　2008/3/10
制作公司 : AMBRNISIE
内含片数 : 1
先来看一段对於源於 Iberia 半岛之舞 fandango的生动描述：
「Fandango 是为双人而作之舞，舞者并不接触对方，连手都没得碰。只看到两人互相挑衅、时而拉开距离、时又前倾靠近。再看那女子，在她的疲态显示几近失败的瞬间，又急起挣脱其追求者，被追逐、又成为追逐的主体。加上两舞者脸上、姿态与态度上感受浮现的七情六慾，观者不得不脸红心跳地注意到，这样的场景，就像是爱神之战斗，对真正的战争之艺术所做的最好展示。」
1796到1799年间，贫穷中的Boccherini 为了五斗米，接受了业餘吉他家 Marquis de Benavente 的委託，改编自己许多室内乐作品，成为加上吉他的声部五重奏编制。这个时期的西班牙，多的是对吉他乐器的爱好者，之后，许多富人及贵族对这样的作品趋之若騖，让Boccherini 看到这个市场的商机。
Padre Basilio 这位在1780s至1790s年间风靡於马德里的僧侣，对Boccherini的吉他作品亦带来绝大的影响。他的吉他技巧(包括指甲拨弦）与对民俗fandango 的韵味掌控，让Boccherini 在他op. 40 之二的谱上记注：「请模仿Basilio 所演奏的 fandango」，这首弦乐五重奏的一二乐章成为吉他五重奏G 448的fandango 乐章之蓝本。另一方面，Basilio 的学生Aguado 在1835年，也创作了一首同样旋律的 fandango 变奏曲，或许可间接证明 Boccherini 此曲的旋律，实际上来自这位Basilio 这位吉他大师。
只是，如果潜在市场无限广阔，为何Boccherini 只留下「一首」 fandango? 这可能要扯到他对於西班牙本土音乐的爱恨情仇。Boccherini 对此「化外之地」的音乐，既有「粗鄙」的评语怨言，以作曲家的艺术功力来讲，又为其舞曲节奏与其欧洲边陲的音乐路径吸引，却害怕异乡人的自己，无法深切忠实表现出在地的色彩(indigenous colors)，班门弄斧，沦人耻笑。
版本上也有种种大不同的选项。法国女大提琴家 Ophelie Gaillard 所率领的Pulcinella 团（Ambroisie厂) 留下了令人难忘、可与前文中Savall 的Alia Vox 版分庭抗礼的演奏典范。后者较为贵族化，精致化；前者使用两位西班牙的民俗吉他手 (其乐器的古味，可参考专辑同时附上的dvd)，又加入联合打击乐的即兴演出，则更为down and dirty、血脉賁张。以此舞曲原来的精神来看，前者有「发乎情，不止乎礼」檯面下的暗香浮动，后者则更直指狂炫的求偶之舞 (mating call) 过后，夜里可能会发生的事。两种风格皆有自成一格的观点，应该各有拥护者，可供大家自由心证决定。
另外要特别推荐一个有泥土味，像是村间婚礼宴会的版（巴塞隆纳 Columna Musica 厂，全集3 张可分购、可网购)。这个系列有趣的地方，不只是较为乡土民俗但紧致亲密的处理方式，连响板都是位乡里村姑型的「欧巴桑」担纲演出，她的节奏掌握感极为果决对点。本系列第三集的其他吉他五重奏里，也在韵律行进上或尾奏合宜之处，自行加入谱中并没有的响板部份。如果觉得此曲过为恶魔邪门、张牙舞爪，除了Romero (Phillips) 与 Yepes (DG) 的两个士绅gallant 气质版本之外，这是一个远离宫廷贵气、远离情慾挣扎的「淡泊田园诗」之精彩演出。
最后，这首 fandango 中的响板问题。由於原稿已经遗失，在手抄本里头所说的是，「可加」而非「必加」响板。这引来不同学派的争议，节奏上额外的绚丽泼辣之外，当时响板又实为 fandango 的常见配器之一，个人觉得castanets 的味道算是必要的香辛料。另外，响板应该在何处加入，也应从宽认定，一来，原典版并未传世，二来，民俗音乐的节奏乐器的使用，本来就有许多不同选项，来源既是即兴的乐曲，只要感官的衝击对了，你又何苦管制它何来何往？
引用CD (23 octobre 2007)
Nombre de disques: 2
Format : Dualdisc, Import
Label: ambroisie (naïve)
ASIN : B000VAVTLI
Release Date October 29, 2007
Duration 01:06:49
Genre Classical
Styles Concerto
AllMusic Review by Stephen Eddins [-]
Luigi Boccherini spent the bulk of his life in Spain, and although he at one point held the position of court composer for Friedrich Wilhelm of Prussia, he exercised those compositional duties in absentia. It was in Madrid that he wrote the majority of the works for which he is remembered. He was one of the great cello virtuosi of all time, and in this album, cellist Ophélie Gaillard leads the chamber ensemble Pulcinella in a spirited romp through a selection of his works. What is most immediately striking about these performances is the sense of delight and gleeful abandon that the performers bring to these pieces. Even the concert aria "Se d'un amor tiranno," with a text, which, on paper, looks like a lament for lost love, sounds for all the world in Boccherini's setting and in this exuberant performance, like a playful cajoling, with the singer having every confidence of winning back a straying lover. The opening selection sets the tone for and establishes the expectation that this is music whose intent, at least in part, is to make you smile -- and you can hear the smile in the players' performances. The arrangement of the Fandango from the composer's Quintet for guitar and strings is for string quartet, two guitars, percussion, and castanets, and it's a wild ride that may play a little loosely with the score, but which certainly is true to its rambunctious spirit. (Boccherini's original does actually include the castanets.) This version includes a break in which the guitars improvise over an ostinato, but its sensuality is so true to the rest of the piece that it dispels any quibbles over absolute fidelity to authentic performance practice. Likewise, Gaillard's audacious decision to turn the cadenza of the final movement of the G major Concerto into variations on Mozart's "Se vuol ballare," from The Marriage of Figaro (an opera that includes its own fandango later in the score), written 16 years after the concerto, sounds entirely fitting. Her performance throughout is bubbling with abandon, but is technically immaculate; her playing may sometimes border on wildness, but she is always fully in control. Soprano Sandrine Piau sings with radiance, purity, and playfulness. Pulcinella matches the soloists in the musicality and exuberance of its performances. Ambroisie's sound is appropriately bright, full, and realistic. Highly recommended.
The release includes a DVD with two documentaries in French, with English subtitles, about the making of the CD. In "Neiges éternelles," Gaillard talks about Boccherini's life and music with charming and infectious enthusiasm, and Pulcinella plays excerpts from several works, including some that aren't on the CD. "Parfums de Madrid" features the recording session for the Fandango, including the marvelous improvisation in the middle of the piece, which, Gaillard assures us, is based on the loopiness of the score and her understanding of Boccherini's personality.
专辑曲目:
1. Introduction and Fandango, arrangement (after the Quintet for Guitar & strings, G. 448)
2. Cello Concerto in D major, G. 483 (Op. 34): Allegro maestoso 7:53
3. Cello Concerto in D major, G. 483 (Op. 34): Andante lentarello 6:17
4. Cello Concerto in D major, G. 483 (Op. 34): Allegro con moto 6:21
5. Se d'un amor tiranno, aria for soprano, cello & orchestra, G. 557 for Metastasio's 'Artaserse'
6. Cello Concerto in G major, G. 480: Allegro 6:33
7. Cello Concerto in G major, G. 480: Adagio 5:29
8. Cello Concerto in G major, G. 480: Allegro 5:03
评论(17) 收藏(9) 查看完整资源页

James Galway -《梅卡丹特:三首长笛与管弦乐协奏曲》(Mercadante Concertos)[APE]

专辑英文名: Mercadante Concertos
专辑中文名: 梅卡丹特:三首长笛与管弦乐协奏曲
艺术家: James Galway
古典类型: 协奏曲
资源格式: APE
发行时间: 1993年
地区: 美国
语言: 英语
简介:
专辑介绍:
　由博德曼 / BMG唱片所规划的这一套RCA Red Seal的「古典必备盘」，是精心挑选出古典音乐史上最重要的作曲家与最拔尖的作品，然后再从所有原本隶属於「Red Seal」高价位唱片里的演奏家、指挥家与乐团，横越时空选取公认最传奇、最杰出、最经典的录音版本。必备的入门曲目、完美的演绎、精心的封面设计、24Bit / 96Khz的高水準音质、平实又贴心的价位，张张都值得您的收藏。
　　詹姆斯．高威是当今古典乐坛首屈一指的长笛．演奏大师，凡是长笛曲目他无不涉猎，更率先以高超的长笛技艺演奏许多无伴奏乐曲集与知名的钢琴、小提琴、吉他等器乐的协奏曲。他的长笛音色饱满圆润，在当今乐坛之中无出其右者。1939年12月8日出生於爱尔兰的贝尔发斯特，年幼时便展露出演奏笛子的天赋，遂进入皇家音乐学院就读。之后被当时担任柏林爱乐指挥的卡拉扬慧眼相中，延揽进入乐团中担任首席长笛手。7年后，也就是1975年，詹姆斯．高威决定单飞当一位长笛独奏家，当时的RCA唱片马上签下他，成为一位专属艺人，他所灌录的唱片销售量也相当惊人，有时一年会灌录到3张以上。后来，高威开始挖掘长笛作品遗珠以及「平反」被忽略的作曲家，1987年所灌录的本专辑「梅卡丹特：长笛协奏曲集」，便是一张传世经典盘。
　　义大利作曲家梅卡丹特（1795-1870）曾担任让瓦拉大教堂音乐总监与那不勒斯音乐学院院长，1862年双眼全盲，留下60多部歌剧与器乐曲集。本张专辑所收录的，是他1813年到1819所写的长笛协作曲，融合了罗西尼、帕格尼莫札特式的风格，令人为之惊艳。担任伴奏尼斯独秦家合奏团，是由创办人兼指挥克劳狄‧西蒙内所担任，是义大利最顶尖的室内乐团。
James Galway / Mercadante：Concertos
作曲家：梅尔卡丹特
演出者：詹姆斯高威
梅卡丹特:三首长笛与管弦乐协奏曲(古典必备盘系列) Mercadante:Flute Concertos / 詹姆斯高威 James Galway
唱片编号：82876608652
唱片公司：SONY MUSIC
发行日期：2014-02-01
商品单位：1CD
商品条码 : 0090266144723
商品编号 : 09026614472
演奏者 : 詹姆斯高威 James Galway - 查看所有专辑
指挥家 : Claudio Scimone - 查看所有专辑
乐团 :
作曲家 : Mercadante - 查看所有专辑
专辑名称 : 长笛协奏曲集
音乐类型 : 古典音乐 [CD 长笛]
发行公司/日期 : SONY MUSIC　
制作公司 : RCA
内含片数 : 1
升D大调长笛协奏曲
1.群庄严的快板
2.西西里风的行板
3.波拉卡舞曲：辉煌的快板
E小调长笛协奏曲
4.庄严的快板
5.广板
6.俄罗斯风轮旋曲：詼谐、活泼的快板
D小调长笛协奏曲
7.庄严的快板
8.广板
9.波拉卡舞曲：辉煌的
1-3 Mercadante : Concerto for flute & orchestra in D major
4-6 Mercadante : Concerto in E minor for flute & orchestra, Op. 57
7-9 Mercadante : Concerto for flute & orchestra in E major
引用Release Date 1993
Duration 01:02:21
Genre Classical
Styles Concerto
Recording Date June 4, 1987 - June 6, 1987
Performer: I Solisti Veneti
Conductor: Claudio Scimone
Composer: Saverio Mercadante
Audio CD (July 18, 2005)
SPARS Code: DDD
Number of Discs: 1
Label: RCA Victor Red Seal
ASIN: B000003FDK
James Galway
Claudio Scimone / I Solisti Veneti
5 of 5 people found the following review helpful
Guide for Students wishing to perform Mercadante
By MelissaBarrow on April 10, 2002
Format: Audio CD
If you find yourself as a flutist needing an example of how one should perform Mercadante Concertos, look to Sir James Galway.
I played the 3rd mov't of the Concerto in e minor: Rondo Russo for a recital in college. After listening to Galway's incredible clarity and interpretation, I found myself wanting to follow his performance. He's simply my favorite and hearing the cd gave me a wonderful example when preparing for my own solo performance. Since then I tell everyone that needs or wants to play that concerto to grab the cd.
专辑曲目:
1. Concerto In D Major: Allegro maestoso
2. Concerto In D Major: Andante alla siciliana
3. Concerto In D Major: Polacca / Allegro brillante
4. Concerto In E Minor: Allegro Maestoso
5. Concerto In E Minor: Largo
6. Concerto In E Minor: Rondo russo : Allegro vivace scherzando
7. Concerto In E Major: Allegro maestoso
8. Concerto In E Major: Largo
9. Concerto In E Major: Polacca : Brillante
评论(46) 收藏(24) 查看完整资源页

Alison Balsom -《巴哈小号作品集》(Bach Works for Trumpet)[24bits 44.1KHz][FLAC]

专辑英文名: Bach Works for Trumpet
专辑中文名: 巴哈小号作品集
艺术家: Alison Balsom
古典类型: 全集作品
资源格式: FLAC
版本: [24bits 44.1KHz]
发行时间: 2006年01月10日
地区: 美国
语言: 英语
简介:
专辑介绍:
【Alison Balsom 艾莉森．鲍尔珊】【Bach: Works for Trumpet 巴哈小号作品集】
难得一见让人惊豔的古典音乐气质美女--艾莉森．鲍尔萨姆，更难得的是以一向非女性所擅长的小喇叭这项需要相当吹奏技巧的乐器来演奏巴哈的作品，曲目包括了D大调协奏曲、无伴奏大提琴组曲、A小调旋律变奏、C大调协奏曲等等。基本上，巴哈从来都不曾为小喇叭写过室内乐类型的乐曲，艾莉森鲍尔萨姆不仅将小喇叭吹奏得像是人声歌唱，也谨守巴哈室内乐的特色，在技巧与音色上都展现出让人一新耳目和其游刃有餘的功力。
艾莉森．鲍尔萨姆於2001年以第一等级的荣耀和首席奖毕业於巴黎音乐院，并曾跟随世界级的小号演奏家哈登伯格以及约翰瓦历斯学习。她在BBC逍遥音乐节首演之后，就受邀跟随许多知名乐团在欧洲巡迴演出。合作过的指挥家包括安德鲁戴维斯、罗杰诺林顿等人。
艾莉森．鲍尔萨姆现在是BBC( New Generation Artist)新一代艺术家之一，同时也和BBC管絃乐团一起演出和录音。世界的古典乐坛从此又多了一位外貌与演奏技巧并济的经典佳作，犹如她於2000年在巴黎的比赛中赢得「最美丽的声音」的封号一样，我们瞩目期待这位明日之星在乐坛大放异彩。
巴哈小号作品集 Bach: Works for Trumpet / 艾莉森鲍尔珊 Alison Balsom
唱片编号：0724355804723
唱片公司：华纳 WAR
发行日期：2013-01-18
商品单位：1CD
Concerto In D (After Vivaldi) BWV 972 D大调协奏曲，作品BWV972
01 Allegro 快板
02 Adagio 慢板
03 Allegro Assai 很快的快板
From Cello Suite No 2 BWV 1008 无伴奏大提琴组曲第二号，作品1008
04 Sarabande 萨拉邦德
05 Gigue 吉格舞曲
06 Aria Variata In A Minor (Italian Variations) BWV 989 A小调旋律变奏，作品989
07 Gigue From Violin Partita No 3 BWV 1006 第三号小提琴组曲，吉格舞曲，作品1006
Trio Sonata In C BWV 529 C大调三重奏奏鸣曲，作品529
08 Allegro 快板
09 Largo 最缓板
10 Allegro 快板
Concerto In C Minor (After Marcello) BWV 974 C小调协奏曲，作品974
11 Allegro 快板
12 Largo 最缓板
13 Presto 急板
14 Bist Du Bei Mir From The Anna Magdalena Notebook BWV 508 安娜玛格妲德莲娜乐曲集，作品508
Concerto In C BWV 1055 C大调协奏曲，作品1055
15 Allegro 快板
16 Larghetto 甚缓板
17 Allegro Ma Non Tanto 从容的快板
18 Badinerie From Orchestral Suite No 2 BWV 1067 第二号管絃乐组曲，舞曲，作品1067
19 Agnus Dei From Mass In B Minor BWV 232 B小调弥撒，羔羊经，作品232
引用http://store.acousticsounds.com/d/103026/A...Download
Performer: Alistair Ross, Colm Carey, Alison Balsom
Composer: Johann Sebastian Bach
Audio CD (January 10, 2006)
Number of Discs: 1
Label: Warner Classics
ASIN: B000CNEO1G
Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Alison Balsom
Title: Bach Works for Trumpet
Genre: Classical
Label: © Warner Classics
Release Date: 2005/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 1:11:28
The title Bach: Works for Trumpet is a little misleading: While Bach did compose glorious music for that instrument, everything here is a transcription. No matter. Bach himself was an avid transcriber, and these adaptations would surely draw smiles from the old Saxon -- not least because of the virtuosity of the soloist, Alison Balsom, who navigates music originally for keyboard, cello, violin, voice, and other sources with equal aplomb. Most daring, perhaps, are Balsom's unaccompanied selections: two movements from one of the cello suites, a Gigue from a violin partita, and the lively Badinerie from the Second Orchestral Suite. There's nothing to mask shortcomings in technique on these solitary tracks, yet Balsom never loses her stride in music that must pose an extra challenge on trumpet rather than on the nimbler flute, violin, or cello. Organist Colm Carey steps in to accompany three transcribed concertos (two of which are in turn Bach revisions of scores by Vivaldi and Marcello, adding to the complexity), while a small chamber group joins the trumpeter for a trio sonata and part of the Agnus Dei from the B Minor Mass. A harpsichord-accompanied Italian Variations and a version of the beautiful song 'Du bist bei mir,' with chamber organ and viola da gamba, complete the album's pleasingly diverse assortment of backup combinations. Balsom's playing is spirited and expressive, with a tone that swaps brassy glitz for a supple vocal quality. All in all, an impressive major-label debut that reveals a talent to keep an eye on.
“…as a showcase for this young artist's mesmerising virtuosity the disc does its job admirably, and presents some familiar and less familiar Bach in new guises at the same time. The supporting instrumentalists, especially organist Colm Carey, make a sterling contribution...” --BBC Music Magazine
“A disc of arrangements which is impressive on every level. Beautifully mellow playing contrasting with virtuosic moments.” --Classic FM Magazine
Label: Warner Classics
Genre: Classical
Product No.: XWAR22896F44
Availability: In Stock
Category: FLAC 44kHz/24bit
Total download size: 677MB Total play length: 1:11:28
Cover art included, liner notes not included
Gramophone described her Bach album as “splendid stuff” and the pieces “showcase Balsom’s phenomenal technique and gleaming expressiveness”
“… As a showcase for this young artist's mesmerising virtuosity the disc does its job admirably, and presents some familiar and less familiar Bach in new guises at the same time. The supporting instrumentalists, especially organist Colm Carey, make a sterling contribution...” BBC Music Magazine, February 2006
“A disc of arrangements which is impressive on every level. Beautifully mellow playing contrasting with virtuosic moments.” Classic FM Magazine, March 2006
“Two transposed movements from BWV1008 and a mischievous solo take on the Badinerie (from BWV1067) showcase Balsom's phenomenal technique and gleaming expressiveness. Period-instrument practitioners Alina Ibragimova, Mark Caudle and Alastair Ross provide superb accompaniment in a charismatic version of the Trio Sonata. A surprisingly diverse range of textures and moods makes this disc a beguiling experience.” Gramophone Magazine, May 2006
专辑曲目:
Johann Sebastian Bach (1685-1750)
Concerto in D Major, BWV 972
01. I. Allegro 02:04
02. II. Adagio 03:50
03. III. Allegro assai 02:10
Suite No. 2 in D minor, BWV 1008
04. IV. Sarabande 02:41
05. VII. Gigue 02:38
Aria Variata in A Minor (Italian Variations) BWV 989
06. Aria Variata in A Minor (Italian Variations) BWV 989 09:24
Partita No. 3 in E, BWV 1006: Gigue
07. Partita No. 3 in E, BWV 1006: Gigue 02:06
Trio Sonata in C Major, BWV 529
08. I. Allegro 04:55
09. II. Largo 05:16
10. III. Allegro 03:31
Concerto in C Minor (after Marcello) BWV 974
11. I. Allegro 03:13
12. II. Largo 03:41
13. III. Presto 03:12
Gottfried Stölzel, Johann Sebastian Bach
Klavierbüchlein für Anna...
14. II: Aria: Bist du bei mir, BWV 508 02:42
Colm Carey, Johann Sebastian Bach
Concerto in A Major, BWV 1055
15. I. Allegro 04:08
16. II. Larghetto 05:02
17. III. Allegro ma non tanto 04:24
Badinerie from Suite No. 2, BWV 1067
18. VII. Badinerie 01:31
Mass in B Minor, BWV 232
19. Mass in B Minor, BWV 232: Agnus Dei 04:60
评论(35) 收藏(24) 查看完整资源页