Baiba Skride -《西贝流士＆尼尔森：小提琴协奏曲》(Nielsen, Sibelius - Violin Concertos)[2 CD][FLAC]

专辑英文名: Nielsen, Sibelius - Violin Concertos
专辑中文名: 西贝流士＆尼尔森：小提琴协奏曲
艺术家: Baiba Skride
古典类型: 协奏曲
资源格式: FLAC
版本: [2 CD]
发行时间: 2015年08月25日
地区: 美国
语言: 英语
简介: 
专辑介绍:
西贝流士＆尼尔森：小提琴协奏曲 (贝芭．丝凯德)　Sibelius & Nielsen：Violin Concertos (Baiba Skride, violin)
1905年，理察．史特劳斯指挥柏林宫廷管弦乐团首演西贝流士大幅修改后的小提琴协奏曲，独奏者是该团首席卡雷尔．哈里札(Kárel Haliř)，象徵著一部经典重新再生。估计最晚不超过二次大战，改版后的协奏曲开始走红并在世界各地音乐厅不断上演。最早的第一版早在两年前便由西贝流士本人指挥在赫尔辛基首演，独奏家由维克托．诺瓦杰克(Viktor Nováček)取代原本西贝流士属意的威利．布尔迈斯特(Willy Burmester)。初版首演的反应奇惨无比，和之后大红大紫的根本无法相提并论，当地最知名的乐评卡尔．佛洛丁(Karl Flodin)更是撰文将这部作品批评的一文不值。但是西贝流士并不打算将作品改写成常见的北欧式哀愁，相反的，他将这些批评当成修改作品的绝佳机会。
如同西贝流士大型作品常见的手法，总会在随处可见的创作形式中加入自己特有的见解。某些时候他会遵循传统，其他时候却又展现出人意料的创新思考，要嘛是完全跳脱既有思维，要嘛就加入某些新手法取代旧元素。他的大编制架构採用效果出色的形式元素并且营造出惊人的开阔空间感，这或许是这首协奏曲总是让人感到浩瀚与渴望的原因之一，如同芬兰国土辽阔的自然景观。此外，抒情、温柔、浪漫晚期语法和炫技之间的交互作用，更是和上述的空间感相互映衬，无论是演奏家或听眾，很难不对此感到热血沸腾。
有个值得一提的有趣现象，西贝流士的小提琴协奏曲似乎对女性小提琴家特别有吸引力。虽然小提琴曲目多如繁星，但演奏家多半还是只有呈现出单一面向。不过，丝凯德并非如此，她总是煞费苦心想呈现她精心设计又富啟发性的曲目给听眾，只盼望能让部分乐迷激起不一样的愉悦感。像是她将布拉姆斯的小提琴协奏曲－尤其是最后乐章明显受到「匈牙利」音乐的啟发－结合相当受欢迎的《匈牙利舞曲》。舒曼的专辑则有三首小提琴和管弦乐团的作品，搭上作曲家改编自己的大提琴协奏曲以及姚阿幸改编舒曼晚期的小提琴幻想曲给小提琴与管弦乐团。另一张CD，丝凯德则是结合史特拉文斯基和法兰克．马丁的小提琴协奏曲。最近一张专辑，她则挑选齐玛诺夫斯基的小提琴协奏曲和《神话》，前者拥有丰富的音乐和技巧性，后者丝凯德则是再度和钢琴家姐姐劳玛合作。
对来自波罗的海国家（拉脱维亚）的丝凯德而言，选择西贝流士的小提琴协奏曲作为纪念他的150週年诞辰其实是再自然不过的事情。另一首小提琴协奏曲係出自丹麦作曲家尼尔森之手，同样是波罗的海周边国家。但，或许除了贝芭．丝凯德的自然特质之外，我们也可以在她詮释西贝流士小提琴协奏曲的手法中，听到某些直率与圆融，让我们透过她的指引能更为亲近这首作品。
尼尔森的小提琴协奏曲首演於1911年，以当时来看，他的作曲手法是有些前卫，如果以宏观的角度来看，我们可以在两首协奏曲的当代性中发现相似之处（或许他们多少对此都有些抗拒），像是两人对协奏曲形式的詮释观点以及对独奏家几近严苛技巧要求几乎都如出一辙。顺道一提，他们两人都是训练有素的小提琴家，也都曾以此维生。或许这可以解释儘管两首协奏曲都有大量困难的技巧，却没听过「搞什么鬼，这作曲家真的懂小提琴吗？」这类的抱怨。除了两首重量级的协奏曲，丝凯德也选了西贝流士写给小提琴与管弦乐团的两首小夜曲，不仅色彩语调截然不同，而且两者的乐曲规模也较小型。
专辑编号： C896152
专辑类型： 双CD
发行年份： 2015
国际条码： 4011790896229
音乐家：Skride, Baiba (violin)　贝芭．丝凯德 (小提琴) Tampere Philharmonic Orchestra　坦贝雷爱乐管弦乐团 Rouvali, Santtu-Matias (conductor)　桑图－马替亚斯．罗伐利 (指挥)
音乐厂牌： Orfeo
引用Conductor: Santtu-Matias Rouvali
Composer: Nielsen, Sibelius
Audio CD (28 Aug. 2015)
Number of Discs: 2
Label: Orfeo
ASIN: B0127JXT8Q
Average Customer Review: 4.5 out of 5 stars
Nielsen/Sibelius: Violin Concertos, etc CD review – clean, supple and boisterous
4 / 5 stars
Baiba Skride/Tampere Philharmonic Orchestra/Rouvali
(Orfeo)
It’s handy for the music industry that Sibelius and Nielsen share an anniversary this year (both were born years ago 150). The two Scandinavian post-Romantics can be neatly paired on one sparse, pine-forested postcard, but what’s so enticing about this recording from the excellent Latvian violinist Baiba Skride – besides her gorgeously rugged sound and straight-up, natural delivery – is that she clinches the distinct voice of each composer. Her Sibelius spins a silvery chill before sweeping headlong into brooding, furrowed-browed melodies. She navigates the storms of the Nielsen less smoothly, but then it’s a rougher piece, and exactly right that her attack is skittish, vulnerable and ballsy in quick succession. Her Adagio is simultaneously luminous and intensely sad – so beautiful that I had to listen to that movement on repeat. The Tampere orchestra sounds clean, supple and boisterous under its young chief conductor Santtu-Matias Rouvali. He, meanwhile, is the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition.
Release Date August 28, 2015
Duration 01:26:27
Genre Classical
Styles Concerto
Recording DateJanuary 7, 2015 - January 9, 2015
NIELSEN; SIBELIUS Violin Concertos
Author: Andrew Mellor
C896 152A. NIELSEN; SIBELIUS Violin ConcertosNIELSEN; SIBELIUS Violin Concertos
NIELSEN; SIBELIUS Violin Concertos
Concerto for Violin and Orchestra
‘These are not good times for the [Sibelius] Violin Concerto,’ says conductor Jukka-Pekka Saraste on a video at the probing Sibelius exhibition currently showing at Helsinki Town Hall. ‘Ideals of playing have changed.’ Saraste’s point is that the concerto’s necessary stillness and tenacity elude most soloists these days. I wonder what he would make of Baiba Skride’s recording, which might be a world away stylistically from Ida Haendel’s performances but has something of her unfettered sense of peace, inevitability and, yes, tenacity.
We know Sibelius’s revision of the concerto reined in the score’s virtuoso tendencies. We also know a little about the violin the composer was gifted by a seafaring uncle and its sweet, tight sound. Skride’s own sound is notably sweet and tight, and her general demeanour in the concerto more shamanistic than heroic. She doesn’t have a great deal of power, particularly down low, but she has astonishing purity, accuracy and clarity. The first Allegro breathes patience, particularly in those circling and patterning passages that draw excitable, breathless playing from others (Batiashvili, Vengerov).
That lack of power means Skride can’t quite weigh the slow movement down like Haendel did, but the engineers meet her halfway in a recording that’s more floating than rooted. Skride has no fear of the movement’s inbuilt aimlessness, which more than compensates. She occasionally struggles with the quick, intricate demands of the finale – there are two slips in the opening sequence – but still that patient weave, that unfettered limpidness, is there. Santtu-Matias Rouvali makes more sense of the concerto’s oddball final bars than most. Together, Rouvali and Skride find the ideal footing for the Two Serenades, particularly the latter. The orchestra’s veiled tone is like a velvet cushion for Skride’s ribbon of sound, frequently devoid of vibrato – often fragile, always delicate.
Skride approaches the Nielsen Concerto with much of the same care, but that’s really not the name of the game in this piece. The opening cadenza is nowhere near abrupt enough and when Nielsen’s japes kick in, it all sounds like a Victorian parlour game compared with Vilde Frang’s copious musical dynamite. There’s a whiff of sentimentality in Skride’s tight vibrato at the end of the Largo which doesn’t fit the aesthetic, and in the ensuing Allegro cavalleresco (which is on the slow side) the orchestra is all smoothness too; surely the score suggests it’s attempting to cajole the soloists on to a different course?
The same qualities that make Skride’s Sibelius create a gorgeous Poco adagio in the Nielsen, the soloist finding a wonderful sense of space (try the exchanges with the brass from 3'44"). But in the Allegretto scherzando that rounds the concerto off with increasing mischief, politeness once more gets the better of both soloist and orchestra. Put Skride’s cadenzas next to Vilde Frang’s and you see how the two temperaments of these outstanding violinists contrast so sharply. Frang’s cadenzas, all spiky and impish, are in Nielsen’s image. Skride’s, delicate, earnest and smooth, aren’t.
专辑曲目: 
Disc: 1
1. Allegro Moderato
2. Adagio Di Molto
3. Allegro, Ma Non Tanto
4. Serenade in D Major
5. Serenade in G Minor
Disc: 2
1. Präludium: Largo
2. Allegro Cavalleresco
3. Poco Adagio
4. Rondo: Allegretto Scherzando
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