Helene Grimaud -《布拉姆斯第一号钢琴协奏曲》(Brahms - Piano Concerto No. 1)[SACD-r]

专辑英文名: Brahms - Piano Concerto No. 1
专辑中文名: 布拉姆斯第一号钢琴协奏曲
艺术家: Helene Grimaud
古典类型: 全集作品
版本: [SACD-r]
发行时间: 1998年05月05日
地区: 美国
语言: 英语
简介: 
专辑介绍:
201602080913布拉姆斯第一号钢琴协奏曲/Brahms Piano Concerto No.1_葛莉茉Helene Grimaud 78钢琴协奏曲
咄咄逼人的定音鼓与澎湃的管弦乐唤起钢琴一连串的震音以对,布拉姆斯第一号D小调钢琴协奏曲考验钢琴家的指力。
有人说这是布拉姆斯对於1854年舒曼试图投河自杀事件的衝击与情绪反应。盛传说布拉姆斯暗恋师母克拉拉,但是舒曼过世后,布拉姆斯替舒曼养一堆孩子,却迟迟未与克拉拉传出恋情,我推测布拉姆斯有可能爱的可能是师父而非师母喔~
这是犹太裔法国女钢琴家葛莉茉(Helene Grimaud)的演奏。天蝎座的她不仅琴技精湛,也是一位狼群保育者。像阿格丽希一样 她拥有超乎女性的臂力。
Brahms Piano Concerto No.1 in D minor, Op. 15
布拉姆斯第一号D小调钢琴协奏曲
I. Maestoso 庄严的
II. Adagio 缓慢的
III. Rondo. Allegro non troppo 迴旋曲 从容的快板
Piano: 葛莉茉(Helene Grimaud,born 7 November 1969)
Conductor: 麦可吉伦(Michael Gielen,born 1927)
Orchestra/Ensemble: 西南德广播交响乐团(Southwest German Radio Symphony Orchestra)
17/04/2005.
Grimaud 现在是DG 的当家花旦，听说她在DG的CD 的销售已经超过八十五万张，这一套极有可能把她拉近百万会的会员。她也是有性格之人，和Abbado 合作灌录Mozart，在选择演奏版本时刻，居然和老人家反面，各持其见，Grimaud 坚持要用Horowitz 的版本，结果把Abbado 激怒，随著跑到HM 和 Faust 灌录了Beethoven 小提琴协奏曲，相信两人大概不会再度合作。所以套新的Brahms ，指挥是新进的Andris Nelsons。 Nelsons 也不是名不经传，这位下届波士顿交响乐团的音乐总监，应该是旭日东昇，前途无限。
Brahms 的钢协不是等閒作品，公认为是钢琴协奏曲曲目的巔峰之作，又继续有技术难度之餘，要能够把Brahms 的复杂感情表达，优美和激情兼备。记忆中强如Richter 也只是灌录一首。这一首也是被许多人认为是男性天下的曲目，女性钢琴家灌录Brahms 可以说是寥寥可数，记忆中只有Argerich 的第二，和Mercury 时代的Gina Gaucher 。
这些热门曲目，手上多年积累下来的也不少，聆听这几张之前，我喜爱的版本是Gilels/Jochum，Leon Fleisher/Serkin/Szell，和近年的Freire/Chailly。
CD 的介绍里面，有访问Grimaud 的对话，主要谈Grimaud 对Brahms 音乐的看法，和两首协奏曲的体会。建议大家在听之前，看看这一份介绍，特别是她对第一协奏曲的看法。
她用两张Brahms 的肖像作为比较，一张是Brahms 年青时影子风发，另一张相隔二十多年，是晚年满面鬍子，带著沧桑。代表乐曲写作时候的Brahms，也代表这两首乐曲。 Grimaud 体会的PC No。1是Brahms 的自我描述和Schumann 之死而引发，三乐章分别代表Schumann 的一生的折腾和挣扎，像祈告般 对Clara 的爱慕，第三乐章的Resurrection。 第二钢协Grimaud 则认为是Brahms 的回忆录，充满记忆之中的酸甜苦辣，思潮起落，感情丰富。
听了两三次，Grimaud 的Brahms的确我我想像中不一样，她的第一的开始我觉得就没有像Gilels 般的气概万千，Nelsons 採取的速度也较慢，我认为Grimaud 在选择了Sentiment 和年青的激情之中选择了前者，她的技术不容置疑，做句也非常精妙，她的第二乐章，就像一首情歌，充满温情和感情，Brahms的含著眼泪的微笑，抒情的速度，听完这两乐章，差点忘记了是听Brahms，第三乐章，两人採取的则为较为传统的速度和节奏，Grimaud 的琴採取主动，有接近男性的雄抖抖的气势，Nelsons是 亦步亦催，让乐曲在传统的方法来结束，好一个不一样的演绎。
若果你认同Grimaud 的看法，这是一个不错的演绎，这里Grimaud 是天上的月亮，Nelsons 充其量只能星星而已，BRSO 在他领导下，适如其份的把一个抒情的Brahms 演出，表现也不错，但乐曲里面乐队也在sentimentl 和 attack 中，选择了前者，我认为Brahms 的音乐的心情复杂，年青的激情，略略不够。
这Brahms No 1 录音是现场音乐会录音，是水準之作，但是听得出不是一场音乐会，而是两场音乐会中选段落编辑而成，细心听会听出剪接之处和偶然鼓声位置移动。
拿了同一样Helene Grimaud 的Brahms 钢协第一的Esoteric SACD 比较。
这是Grimaud 1997二十六岁时候的演奏，指挥是Kurt Sanderling，乐队是Berlin Staakapelle。
在钢琴部分，Grimaud 基本上对Brahms 钢协第一的看法没有太多的改变，她的Brahms No 1 两者都是较缓慢的速度，偏向Sentimental 的版本。当然两者也有分别，这二十多年听到Grimaud 的琴声从朝气勃勃的，到成熟而自信，touch 更为delicate，更放胆施展自身的见解，第二乐章，旧版本直率，新版本更有女性婉约。整体是黑的更黑，白的更白。当年的Grimaud，是要证实给世界她不止是位 “French Pianist”，演绎里面还有德国味道，在混点法国浪漫。Kurt Sanderling 这位资深德国指挥和年青Grimaud 较为旗鼓相当，只是终结段落稍稍鬆懈而已。
谈演绎，两者之间，我反而喜欢1997 年的Helene Grimaud 那一份朝气，和德法的融合。二十多年前，二十六岁的年纪，已经对Brahms 音乐有如此理解，技术有如此水平，非常难得。
录音方面，DG的水平颇高，但是一山还有一山高。Esoteric 的工程师再一次把一贯的精品式的加工显示，把这录音拉高一线，乐队的弦乐更幼滑细致，铜管更光辉，没有原版不能比较，钢琴声音也能够平衡鏗鏘和钢琴的木槌敲琴弦的要求，不用AB比较，就知道加工品为何那么贵。你可以说是味精，但就是是大厨，也要用点味精。
Grimaud 的Brahms 钢协第一，不管哪个版本，都是有争议性的。但是撇开传统，想到当时的Brahms被Schumann 之死的影响，眾所周知他对Clara的爱慕，这演绎的也不是太过分，不管如何，是值得一听的演绎，起码是女性钢琴家回应乐迷说这乐曲属於男性天下的答案。也是到目前成功的Brahms 钢协第一的女性版。
引用Release Date 1998
Duration 50:05
Genre Classical
Styles Concerto
Performer: Hélène Grimaud
Orchestra: Staatskapelle Berlin
Conductor: Kurt Sanderling
Composer: Johannes Brahms
Audio CD (May 5, 1998)
SPARS Code: DDD
Number of Discs: 1
Label: Erato Disques
ASIN: B000006CS6
Average Customer Review: 4.4 out of 5 stars
5.0 out of 5 starsRemarkable probing account of the great D-Minor Concerto
By W. Chiles on November 28, 2012
Format: Audio CD Verified Purchase
This powerhouse of a concerto can withstand a number of approaches, given its combination of drama and lyricism. Ms. Grimaud has taken it on with the objective of exploring its more hidden treasures. It's rare for a record collector of 35 years to hear a fresh approach to such a classic (i've heard Serkin/Szell; Fleisher/Szell; Kovacevich/Sawallisch; Cliburn/Leinsdorf and Gilels/Boehm and found great value in the approach of each, but this recording, made in performance in Berlin's Schauspielhaus is something quite special. In her jacket notes, she states her understanding of the piece as a response on Brahms' part to the incredible drama he faced at the loss of his best friend and mentor Robert Schumann to due mental illness (likely he was bi-polar) and his eventual death. This explains the intense craggy drama of the opening movement followed by the lovely resignation of the slow movement and the restored life-affirmation of the finale. There is likely a great deal of the composer's fondness for Clara Schumann in the slow movement. His unrequited love for her shows itself in a number of his piano works, not least of all the opus 119 pieces.
She takes, like Gilels and Gould, an extremely slow tempo in the first movement, balancing its dramatic and lyric elements beautifully while allowing the conductor, Sanderling, the opportunity to distinguish various inner voices and explore various instrumental balances and sonorities in long held passages and chords. The recording balance is amazingly good for an "in-performance" recording. The orchestra which serves in the pit of the Berlin Staatsoper is well accustomed to providing accompaniment, playing with a smooth blended sound that while not quite up to the high standard of the Berlin Philharmonic will still do quite nicely.
The slow movement plays like a meditation with various soloists in the orchestra responding intimately and spontaneously to the pianist. After all the slow reflection of the first two movements, the finale is played at a more conventional lively tempo in keeping with the pianist's interpretation of this concerto as a kind of requiem expressing resolution and life affirmation at its end.
The overall perspective of the recording gives a sense of being somewhat recessed in mid hall with a nicely blended sound as opposed to surgical detail. That may be why some reviewers note the subdued timpani and horns, although I find the conductor has given them sufficient prominence. It's simply a more central-european approach. I highly recommend this to those who love this concerto and wish to explore various approaches to it. This one is quite unusual but rewarding in what it reveals. I note some complaints about the conductor but Grimaud chose him particularly for this concert and recording based on prior collaboration and admits in her notes, that she was fortunate in that he agreed with her on the slow tempo interpretation of the opening movement. Get it if you can. Warner does a poor job of distributing its classical recordings in the U.S. Perhaps you can find it used on amazon or perhaps even a budget rerelease will appear. Don't hold your breath for the latter.
专辑曲目: 
1. Piano Concerto No. 1, Op. 15 In D Minor: Maestoso
2. Piano Concerto No. 1, Op. 15 In D Minor: Adagio
3. Piano Concerto No. 1, Op. 15 In D Minor: Rondo - Allegro non troppo
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