Alison Balsom, Crispian Steele-Perkins -《义大利巴洛克时期之双小号音乐作品》(The fam'd Italian masters Music for trumpets and strings from the Italian Baroque)[MP3]

专辑英文名: The fam'd Italian masters Music for trumpets and strings from the Italian Baroque
专辑中文名: 义大利巴洛克时期之双小号音乐作品
艺术家: Alison Balsom, Crispian Steele-Perkins
古典类型: 全集作品
资源格式: MP3
发行时间: 2003年05月13日
地区: 美国
语言: 英语
简介: 
压缩码率: 320Kbps
专辑介绍:
兼具美貌与才华，来自英国的小号天后演奏家艾莉森．鲍尔珊（Alison Balsom）在国际上已享有高度的讚誉。曾两度获得英国Brits古典音乐大奖「年度女音乐家」奖项，及《留声机》Gramophone杂誌、古典音乐电台（Classic FM）等多项古典音乐权威奖肯定。本月她将与苏格兰合奏团（Scottish Ensemble）联袂应邀访台，风格迥然与高难度的曲目，将为观眾展现她惊人的舞台魅力。
◎ 曾於英国伦敦市政厅音乐及戏剧学院（Guildhall School of Music）、巴黎音乐院学习小号演奏
◎ 两度获得英国Brits古典音乐大奖「年度女音乐家」奖项、《留声机》杂誌、古典音乐电台等多项古典音乐大奖。
◎ 2009年领衔於BBC年度音乐会演出，以两亿观眾创下该音乐会全球转播最多观眾收看纪录。
◎ 2010年以自行编曲灌录的《义大利协奏曲》Italian Concertos创下EMI唱片当年度古典类唱片销售冠军
◎ 去年於美国电视网首度与圣路克交响乐团在著名的大卫．赖特曼脱口秀节目中演出，创下古典音乐家在电视节目演出的罕见纪录。
商品条码 : 0034571173597
商品编号 : CDA67359
演奏者 : 伯金斯＆艾莉森鲍尔珊 Crispian Steele-Perkins ＆ Alison Balsom (Trumpet) - 查看所有专辑
指挥家 :
乐团 :
作曲家 :
专辑名称 : 义大利巴洛克时期之双小号音乐作品
The Fam`d Italian Masters : Music For 2 Trumpet From The Ita
音乐类型 : 古典音乐 [CD ]
发行公司/日期 : 上扬　
制作公司 :
内含片数 : 1
斯蒂尔 - 帕金斯住在多尔金，萨里,也是艾玛，凯特和盖伊的父亲。他也是 威廉，Ben Mitchell，伊莎贝尔和Zoe Jinadu 的祖父。1961年，他娶了安吉拉海伦厅（1991），并于1995年，他娶了伊丽莎白珍玛斯蒂尔 - 帕金斯。
Steele-Perkins lives in Dorking, Surrey and is the father of Emma, Kate and Guy. He is also grandfather to William and Ben Mitchell and Isabelle and Zoe Jinadu. In 1961, he married Angela Helen Hall (d. 1991), and in 1995 he married Jane Elizabeth Mary Steele-Perkins.
Career
Steele-Perkins picked up his first trumpet at the age of ten and progressed so quickly that just 6 years later he was playing with the English National Youth Orchestra. On graduating from the Guildhall School of Music, Steele-Perkins began his professional career with the Sadler's Wells Theatre (ENO) 1966-73, before performing with the London Gabrielli Brass Ensemble 1974-84, Royal Philharmonic Orchestra 1976-80, English Baroque Soloists 1980-91, Amsterdam Baroque Orchestra, The King's Consort, 1985–2009, and Retrospect Ensemble, 2009–present. Steele-Perkins's purity of tone and artistic subtlety have received critical acclaim for more than four decades now. Throughout the 1980s and 1990s, he played a key role in the growth of historically-aware trumpet playing, using a collection of more than 100 pre-1900 mechanised and 'natural' trumpets to bring a brighter, clearer sound to baroque performances. In 2004, Steele-Perkins received the Monk Award[2] for his significant and lifelong contribution to the field of early brass music.
In addition to his work with classical orchestras and period instruments, Steele-Perkins has developed a body of television and film work which is universally recognisable today - most famously he played the theme tune to the popular British television programme Antiques Roadshow, the James Bond film For Your Eyes Only and the The Lord of the Rings: The Two Towers.
Steele-Perkins has also accompanied some of the world's greatest singers, recording Handel's "Let the bright Seraphim" with Dame Kiri Te Kanawa and "Eternal Source of Light Divine" with James Bowman. His more recent performances alongside Emma Kirkby, Lynn Dawson, Carolyn Sampson, Bryn Terfel and Lesley Garrett have cemented his international reputation as one of classical music's great ambassadors.
Well known for his enthusiasm and wit, Steele-Perkins is also a popular presenter giving recitals, lectures and masterclasses at schools, colleges and music venues around the world. He also provides advice and guidance when called upon by today's up-and-coming trumpeting talent.
引用一九九八年，一位金髮高挑的女孩，在英国BBC青年音乐家大赛决选节目中受到高度瞩目。有别於一般女性演奏家的形象，艾莉森．鲍尔珊（Alison Balsom）以独特的小号音色改变了听眾的既有成见，从那时起，她的知名度不断上升，一座座的唱片大奖被她拿下，也一步步地说服了古典权威杂誌挑剔的耳朵。
为什么选小号？这大概是大多数人对她的疑问。原来，这个开始，居然不是古典，而是爵士。鲍尔珊在她七岁的时候，无意间听到爵士小号大师葛莱斯比（Dizzy Gillespie）的录音便深深著迷。当时年纪还小，根本不知道这项乐器在一般人眼中是属於男生演奏的，却执意要学。到了快九岁时，她的父亲带她到巴比肯中心，听了瑞典演奏家哈登伯格（Håkan Hardenberger）演奏胡迈尔（J. N. Hummel）的作品之后，她就下定决心要成为一个小号演奏家。有趣的是，小小的心灵从此真的这个梦想努力不懈，长大之后，她不但找到机会跟随哈登伯格学习，为她树立起小号界天后地位的专辑主打作曲家之一，竟然也是胡迈尔。
拥有人人称羡的美貌，让鲍尔珊在专业外，总多了一份被讨论的话题。然而这对她来说却是反而一个困扰，虽然时尚的打扮、修长的身材在舞台上很容易吸引眾人的目光，但她却不容易被严肃对待。事实上，当初BBC的那场比赛是透过广播放送，观眾只听得到音乐并无法看到本人，因此不可能因为外表而左右专业的判断。至於人们喜欢强调她是「女性」小号手的议题，她也十分不以为然，因为在她的观念里，音乐世界没有男女之分，只有演奏家的好坏区别而已。相对於这些外在的因素，鲍尔珊更希望人们以严格的艺术水準要求她。
的确，如果希望持续在艺术的舞台上占有一席之地，就必须要拿出能令人信服的表现来。因此鲍尔珊最擅长的，就是以小号作为与观眾沟通的工具，让乐器保留金属的色彩，又发出歌唱般的温暖。舞台下的她喜欢游艇出海，也爱滑雪，更喜欢改编经典作品、挑战年轻作曲家的新创意。作为一位小号手，她永远付出忠诚与热情，为了这美丽的声音，她会「用后半辈子大力捍卫」，并且让人们认识到小号的真正魅力！
第二篇
越洋专访 鲍尔珊：我们不该让压力凌驾在音乐本质之上
文字 邓诗屏 小号演奏家
四月中的早晨，笔者拨通了鲍尔珊的手机。彼时她在美国佛罗里达，刚结束一场夜间演出，且正与经纪人驾车奔驰在返回下榻饭店的途中。她的声音虽略显疲惫，但是不减甜美与清脆。虽然访谈在不甚稳定的通讯状态中进行，但是，鲍尔珊与笔者对谈的情绪始终十分高昂！她时而严肃、时而纯真地畅谈著音乐、作品与生活，更多次表达对台北的喜爱与期待。
Q：今年五月是妳第二次造访台北吗？
A：没错，很高兴有机会再次访问台北，上一次我演奏整场的独奏会，并没有太多时间好好地探究这漂亮城市的细节，然而，儘管如此，我所领略的人事物已使我留下了非常美好的印象。台北的风光与人情一直令我难忘，很高兴能再度前往那迷人的城市，还有美丽的国家音乐厅，真的很让人怀念！
Q：此间的爱乐者仍不时谈论到数年前妳在台北演出的独奏会中，令人动容地呈现优雅与美好的小号音乐。本次妳应邀与苏格兰合奏团一起同台献艺，请问你如何看待这次与苏格兰合奏团的合作？
A：我一直认为小号与絃乐团，是一种最富逻辑与艺术美感的组合！尤其是对於早期音乐更是效果完美。
苏格兰合奏团的每一位演奏家除了具有卓越的音乐能力与经验之外，在音乐内在力量的寻求上更有惊人的一致性。非常荣幸与这么杰出的团体合作，相信我们在台北的演出一定会充满乐趣与惊喜，这种火花也是我衷心盼望的。
Q：在公布的曲目里，我注意到妳亲自动手改编了两首巴洛克时期的协奏曲。是否有著特殊的音乐讯息与我们分享？
A：巴洛克时期是小号音乐的黄金年代，身为小号演奏者，可不能等閒视之！因为其中有发掘不尽的音乐宝藏。
此次我选择阿比诺尼（T. Albinoni）《双簧管协奏曲》与韦瓦第《小提琴协奏曲》作为音乐意念的平台，藉由小号音色的元素，试图在原本的音乐织度里增添一些不同的色彩与歌唱性。以小号取代小提琴或双簧管这一件事情并不是最重要的，重要的是音乐的内涵是否依然丰富！
我对於早期乐器自然小号有一份特殊的爱好，花了许多功夫去研究与演奏仿古自然小号，也录制了不少早期音乐作品。其实，我觉得今日的小号演奏者应该多关注一些两、三百年前的乐器与作品风格，因为那些是古典音乐的土壤，许多风格的基本议题，还是要回到它生长的土壤里寻找答案。巴洛克音乐的研究并未随著时代退潮，反而有愈来愈多的新思维。我愈是探究它，就愈是发现小号的音色质地与这些作品惊人的契合，可以完全不困难地表达出巴洛克音乐辉煌与自由的精神！
Q：请问这次妳是选择高音小号来演奏这些作品吗？
A：是的。
Q：那么，妳对现代高音小号演奏内涵上最主要的理念与追求是什么呢？
A：甜美、丰富与充满歌唱性的音色和旋律线一直是我的核心理念。小号是颇为困难的独奏乐器，但若能适当平衡吹奏的压力，你就可以展现出几乎如双簧管一般抒情又甜美的音色，这也是演奏巴洛克音乐很重要的品质。
就如同在刚才提到的观点中所说，我事实上是在演奏自然小号当中，学习到更多抒情的音乐性与吹奏方式。因为自然小号的管身很长，所以它的泛音非常丰富，以现代小号而言，尤其是现代高音小号，就失去了这个优点，因为现代小号的管身相对自然小号而言短了许多。因此，即使现代小号拥有移动快速、音準明确等等诸多优点，我们还是必须儘量试著去寻找那源於自然小号音色传统的丰富泛音，以免失去小号最纯粹、最甜美的音色。
Q：能否谈一谈麦克米伦（J. Macmillan）《六翼天使》Seraph这个作品？据我所知，这是一部题献给妳的作品。
A：这实在是一件非常荣耀且不可思议的事情！麦克米伦大师是英国当代重量级的作曲家，他是一个极为友好而且极有智慧的谦谦君子。而每当我想到，即使有一天我已不存在於这世界上了，然而《六翼天使》却仍能长存於音乐史册之时，我就能重温这奇妙的荣耀感。
Q：是否可谈一谈这部作品的挑战性与其音乐诉求？
A：这个议题很难一语道尽，你必须要亲临现场、用心聆赏之后方能做出独立的艺术判断。但请先容我简单地介绍这首乐曲。首先，在结构上，它仍然维持很传统的三乐章形式。第一乐章是对於古典风格的回顾与展望，例如小号独奏一开始的部分就与海顿《小号协奏曲》有些神似。第二乐章的音乐极为动人，我认为这个乐章是全曲的情感核心之所繫。而第三乐章的音符如舞蹈般飞扬而跳跃，尽情展现小号吹奏技巧。
其次，在实验精神上，这首作品的音乐语法是崭新而不落俗套的，听眾可以一窥大师绝佳的创意。这是一首无论在创作技巧或音乐上都极为出色的作品。
Q：请问在妳繁忙的演奏行程中，要如何让自己保持在巔峰状态？
A：啊！这是一个困难的议题！如果你有好主意请立刻告诉我！我也正在学习之中。但我认为持续不断的呼吸练习确实能帮助我放鬆。
另外一个值得分享的方式是做瑜珈。我在瑜珈课程里得到很多啟发，做瑜珈可以有效地帮助我放鬆情绪与伸展肢体，并且让自己的呼吸更深更稳。
Q：那么，压力问题呢？小号独奏家的工作充满压力，不是吗？
A：你知、我知，追求完美的过程确实充满压力，对小号演奏者或许更是如此。
从某些层面来说，压力也是迈向成功的动力之一，但是你不应该让自己被压垮。因此我也慢慢学著调适自己，对於挫折淡然处之。我想，人生很长，而人生有多长，音乐的道路就有多长！我们不应该让压力凌驾在音乐本质之上。而且，请容我提醒你，瑜珈在紓解压力方面也很有帮助喔！
Q：我相信，音乐不仅是妳的工作更是兴趣吧！但在音乐之外，妳有什么其他的爱好或休閒活动？
A：就像邻家女孩一样，其实我的假日也没什么特别啦，在閒暇的时候，我喜欢和朋友一起跳舞，毕竟，我还年轻嘛！哈哈……另外，我还喜欢到海上驾风帆，我很爱那种天高地阔、投身於大自然的感觉！
Q：若是妳在台北停留期间，有任何空档的话，有哪些台北特色是你最想体验的？
A：这次造访台北，我绝对不能错过品嚐道地台湾美食的机会！太多的朋友告诉我，台湾是美食的天堂，我上次没有很多时间出门探险，这一次一定要努力把握机会！另外，也请告诉所有的朋友，我非常期待台北的演出！
This disc combines the talents of internationally-renowned Crispian Steele-Perkins, and Alison Balsom, a recent graduate currently taking the musical world by storm. Both are in radiant form in a collection of works from that era of Italian baroque music celebrated and loved for its vibrancy and spirit.
Audio CD (May 13, 2003)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: Hyperion UK
ASIN: B00008IHWF
Average Customer Review: 5.0 out of 5 stars
Until the middle of the seventeenth century, the trumpet was essentially a ceremonial instrument, played by soldiers and courtly attendants rather than musicians; it was normally used in trumpet-and-drum bands, in which fanfares and popular tunes were clothed in improvised drone accompaniments. However, German composers such as Michael Praetorius and Heinrich Schütz began to experiment with using trumpets in composed art music around 1620, and soon after 1650 composers began to write concerted sonatas for one or two trumpets with strings and continuo—the repertory that is explored in this disc.
It is normally thought that the first trumpet sonatas were written in Bologna. The earliest printed trumpet sonatas were certainly published in 1665 by Maurizio Cazzati, maestro di capella at San Petronio in Bologna between 1657 and 1671, and the archives at San Petronio contain a large repertory of sonatas, sinfonias and concertos with trumpets, some of which are included on this CD. However, there are trumpet sonatas surviving in manuscripts in northern European libraries that may be just as early or even earlier. A case in point is the sonata by the Roman composer and singer Alessandro Melani. It is found in manuscript at Uppsala in Sweden, probably copied in the 1680s or ’90s though a shorter version for a single trumpet in an Oxford manuscript may go back to the middle of the century. The piece is in an early style and is in C major rather than D major, the standard key for later Italian trumpet music. The piece is also unusual in that the violin parts are in scordatura (using violins tuned b-e'-b'-e'' instead of g-d'-a'-e''). It is not clear whether that was part of Melani’s original conception, though it certainly creates an unusual and attractive sonority.
Alessandro Stradella was another important early composer of trumpet music. Like Melani, he worked in Rome for much of his career, though by 1681, when he wrote the wedding cantata Il barcheggio, he was living in Genoa; he was murdered in a Genoese street the following February and Il barcheggio is said to have been his last work. Its self-contained sinfonia sounds remarkably modern, partly because it uses a bright scoring with three equal treble parts, and partly because it has a clear four-movement structure, with logical harmonic patterns.
Another early trumpet work is the sonata by Andrea Grossi, published in his Op 3 of 1682. It has a some archaic features—for instance, the trumpet tends to alternate rather than combine with the upper strings—though the central adagio, featuring the trumpet in an expressive rather than virtuosic role, is unusual for the time. Little is known about Grossi, though he is known to have been a violinist in the service of the Duke of Mantua around 1680.
The three trumpet works in this programme by Bologna composers offer a sample of forms and styles around 1700. The sonata by Giuseppe Maria Jacchini has the same three-treble scoring as the Stradella sinfonia, though it is more old-fashioned in its structure and musical language: it is relatively short-winded and is a patchwork of six short, contrasted sections. Jacchini was a cellist in the musical establishment at San Petronio from 1680 until his death in 1727, and may have been partly responsible for developing the cello as a solo instrument in concerted sonatas; in the present sonata the central trumpet solo has a soloistic bass part that is clearly intended for his instrument.
In the sonatas by Lazzari and Torelli the cello is given a proper solo accompanied by a separate continuo part; in the Lazzari it has an expressive duet with the first violin, while in the Torelli it has a duet with the trumpet. Both works illustrate the trend around 1700 to more virtuosic and idiomatic writing, and for longer, more logically organized separate movements instead of the old ‘patchwork’ structures. Lazzari was a Franciscan monk who worked in his native Bologna throughout his life, with the exception of two periods spent in Venice. Torelli was also a native of Bologna and worked there until 1696, though he spent most of his later career in Germany.
We do not know where and when Vivaldi wrote his well-known concerto, his only work for trumpets and strings. It is similar in idiom to some Bologna works, though it is in C major rather than D major—a distinctive feature found in other works by Vivaldi with trumpet.
As a contrast to the major-key and generally lively trumpet works, we have included some contemporary examples of four-part string sonatas. The sonata à quattro was less popular at the time than the ubiquitous trio sonata, and is rather neglected today, though it contains a wealth of fine music with a preponderance of introspective, minor-key works—as this CD demonstrates. It is also of interest in that the genre is the true ancestor of the Classical string quartet. The sonatas by Cazzati and Vitali are typical examples of Bolognese four-part sonatas: they are relatively brief, are full of dense counterpoint and have chromatic sections. Vitali was born in Bologna and studied with Cazzati, though he spent most of his career at the Modenese court.
The sonatas by Legrenzi and Scarlatti are also densely contrapuntal, though they are quite different in style. Legrenzi was working in Venice in 1673, when he published his Op 10, and dedicated the collection to the Austrian emperor Leopold I, which is presumably why it includes two sonatas for four viols and continuo. Viols were largely obsolete in Italy at the time, but were still cultivated a good deal in Austria. This is probably why the sonata recorded here was printed in a double-clef format, allowing it to be played in C minor on viols and in E minor by a string quartet. In the work Legrenzi achieves a remarkable synthesis between the contrapuntal idiom of the Renaissance and the chromatic harmony of his own time. We do not know anything about the origins of Alessandro Scarlatti’s work, except that it is found in manuscripts in Paris and Münster as a sonata for string quartet ‘senza cembalo’, but as a concerto with continuo and additional ripieno string parts as the first of a set of Six Concertos published in London around 1740. It is likely, however, that the concerto version is not Scarlatti’s work, and was cobbled together in eighteenth-century England; the additional parts certainly do not add anything to the original.
Two features of this recording are worthy of comment. First, all the works are played one to a part. There is no doubt that the sonata à quattro was essentially thought of as chamber music rather than orchestral music around 1700, even though the genre was often used in church. Furthermore, Richard Maunder has recently argued that the concerto was normally a one-to-a-part genre during the Baroque period; the vast majority of all Baroque concertos survive only in single sets of parts, even in places such as San Petronio in Bologna, where other genres were performed with large forces. Second, it has become fashionable in recent years to use large continuo groups of plucked instruments in all sort of Baroque music. However, the printed and manuscript sources of the repertory recorded here normally only have a single continuo part, most commonly labelled ‘organo’. For this reason we have used a fine Italian-style organ by Goetze and Gwynn for this recording. It is typical of the single-manual instruments used in Italian Baroque churches, and is much more powerful than the small portable chest instruments usually heard in modern performances and recordings.
The lesser-known composers presented here (Melani, Cazzati, Jacchini, Lazzari, Grossi etc) sit happily beside the ‘greats’ of the era (Vivaldi, Scarlatti, Torelli). Before mid-seventeenth century the trumpet was essentially a ceremonial instrument until German composers such as Praetorius and Schütz began to incorporate it into concert works. This idea was soon adopted elsewhere, and Italian sonatas and concertos form much of the baroque repertoire for trumpet.
The accomplished Parley of Instruments play ‘one to a part’, reflecting the combination of forces most likely to have been used at the time these works were first performed.
专辑曲目: 
01. Sonata a 6, for 2 trumpets, strings & continuo in D major: Presto e spicco
02. Sonata a 6, for 2 trumpets, strings & continuo in D major: Grave
03. Sonata a 6, for 2 trumpets, strings & continuo in D major: Canzona
04. Sonata a 6, for 2 trumpets, strings & continuo in D major: Grave
05. Sonata a 6, for 2 trumpets, strings & continuo in D major: Presto
06. Sonata for trumpet, strings & continuo, Op 3/10: Vivace
07. Sonata for trumpet, strings & continuo, Op 3/10: Adagio
08. Sonata for trumpet, strings & continuo, Op 3/10: Grave
09. Sonata for trumpet, strings & continuo, Op 3/10: Presto
10. Sonata for trumpet & strings, D12/6: Grave - Allegro
11. Sonata for trumpet & strings, D12/6: Grave
12. Sonata for trumpet & strings, D12/6: Allegro
13. Sonata for trumpet & strings, D12/6: Grave - Allegro
14. Sonata for strings & continuo in A minor ('La Sassatelli'), Op. 5/10
15. Sonata for 2 violins, viola, cello & continuo in E minor, Op. 10/17
16. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: [Allegro]
17. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Andante
18. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Allegro ma non troppo
19. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Allegro
20. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Grave - Allegro
21. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Adagio
22. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Allegro
23. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Grave - Allegro
24. Concerto grosso No. 1 in F minor: Grave
25. Concerto grosso No. 1 in F minor: Allegro
26. Concerto grosso No. 1 in F minor: Larghetto
27. Concerto grosso No. 1 in F minor: Allemanda
28. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Vivace
29. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Largo
30. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Allegro
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