Alina Ibragimova -《易沙意：无伴奏小提琴奏鸣曲 》(Ysaÿe - 6 Sonatas for Solo Violin)[24 bits 96 KHz][FLAC]

专辑英文名: Ysaÿe - 6 Sonatas for Solo Violin
专辑中文名: 易沙意：无伴奏小提琴奏鸣曲
艺术家: Alina Ibragimova
古典类型: 全集作品
资源格式: FLAC
版本: [24 bits 96 KHz]
发行时间: 2015年07月09日
地区: 美国
语言: 英语
简介: 
专辑介绍:
易沙意：无伴奏小提琴奏鸣曲 (伊布拉吉莫娃)　Ysaye：Sonatas for solo violin (Alina Ibragimova)
易沙意少数流传至今的录音都展现出纯粹甜美的音调，没有任何让人惊艳的绚烂火花或是刻意的凿痕，1912年之后的专辑，常见的滑音风格几乎消失无踪，却有种让你无法抵挡的魅力。此外，当中还显示了另一种自由度：当时外界普遍认为易沙意成功的让小提琴演奏跳脱框架束缚，而且对照萨拉沙泰浮华空洞的炫技更多了鲜明的严肃感（易沙意和提博[Jacques Thibaud]两人都曾对萨拉沙泰的演出风格提出强烈批判）。上述这些元素在他1923年为小提琴好友所写的六首奏鸣曲内都可以清楚验证。
1858年易沙意生於比利时列日，就读当地音乐院时随魏欧当与维尼亚夫斯基学习小提琴，1886-1897年担任布鲁塞尔音乐院教授，之后他的国际演奏生涯日渐辉煌。早在1884年他就开始尝试以弦乐器为主角作曲，但现今只有少数还有机会演出，大部分都未出版。本辑的六首奏鸣曲是他最知名的作品，跳脱上述提到的旧有框架，表现张力过人，每个乐章都带给我们某些预期之外同时引人入胜的体验，无论是技巧或情感。
创作灵感来自有次易沙意听到西格替演奏巴哈的G小调无伴奏小提琴奏鸣曲后大为激赏。两人都不禁疑惑为何没有后人愿意追随巴哈的脚步－当然，要超越巴哈这道高墙实在是过於艰难，毕竟自从1720年以来，小提琴的音乐与演奏技巧只有些许进展。於是易沙意在1923年7月的某一天内立刻将六首奏鸣曲的轮廓大纲全部勾勒出来，并於隔年出版乐谱。
六首奏鸣曲分别献给：西格替、提博、安奈斯可、克莱斯勒、克里克波姆(Mathieu Crickboom,易沙意的得意门生)、齐洛加(Manuel Quiroga)。
伊布拉吉莫娃，这位1985年生来自俄国的美女小提琴家，已经是Hyperion厂牌目前最耀眼的新生代小提琴家。她曾获选皇家爱乐协会青年音乐家大奖BB信託以及全英古典音乐奖，本辑荣获留声机杂誌主编推荐、史特拉德弦乐杂誌推荐录音。若您尚未接触过伊布拉吉莫娃，她的巴哈无伴奏小提琴组曲专辑相当值得推荐，也是与本辑互相辉映的最佳写照。若您已是她的粉丝，这张专辑也不用笔者劝败了...
专辑编号： CDA67993
专辑类型： 单CD
发行年份： 2015
国际条码： 0034571179933
音乐家：
Ibragimova, Alina (violin)　艾莉娜．伊布拉吉莫娃 (小提琴)
音乐厂牌： Hyperion
引用Performer: Alina Ibragimova
Conductor: Alina Ibragimova
Composer: Eugene Ysaye
Audio CD (June 9, 2015)
Number of Discs: 1
Format: Import
Label: HYPERION
ASIN: B00UKNOI8M
Average Customer Review: 4.7 out of 5 stars
AllMusic Review by Blair Sanderson
The six Sonatas for solo violin of Eugène Ysaÿe are essential works in his catalog, inspired by the sonatas and partitas of J.S. Bach, and composed as a tribute to the violinists Joseph Szigeti, Jacques Thibaud, George Enescu, Fritz Kreisler, Mathieu Crickboom, and Manuel Quiroga. These pieces suggest a Janus-like combination of retrospection and the avant-garde, hearkening to the past through allusive figurations and direct quotations (e.g., references in the Sonata No. 2 to Bach's Partita No. 3 and the Dies Irae), but looking to the future in the use of extended violin techniques and novel sonorities. Alina Ibragimova's 2015 release on Hyperion is an absorbing performance, concentrated in tone and accomplished in technique, yet wonderfully ambiguous in expression, in keeping with Ysaÿe's quirky mix of playfulness and high-minded seriousness. Recorded in the concert hall of Wyastone Estate, Monmouth, in May 2014, Ibragimova has great clarity and presence, and the acoustics provide enough resonance to soften the violin's sometimes overly rosinous sound.
Release Date June 9, 2015
Duration 01:07:36
Genre Classical
Styles Chamber Music
YSAŸE Six Sonatas for Solo Violin
Alina Ibragimova has made many fine recordings in recent years, but this solo Ysaÿe disc must count as one of her most memorable achievements. She gives full value to the sonatas’ varied expressive character, their virtuosity, and the imaginative and poetic way Ysaÿe wrote for his instrument. And she makes the music sound quite beautiful: we never feel the medium of unaccompanied violin is at all limiting; the sonatas speak to us unimpeded, without any sense of strain.
Ysaÿe composed the set in 1924, when his illustrious performing career was almost over. He dedicated each of the six to a different colleague among the fraternity of violinists, and we can follow their characteristics through the set – the First Sonata for Joseph Szigeti substantial and serious, and reflecting his prowess as a Bach interpreter; the Third Sonata commemorating the free, romantic style of Enescu, the Sixth Manuel Quiroga’s Spanish heritage, and so on. Ysaÿe sought in all six works to merge the Baroque tradition of solo violin-writing exemplified by Bach with the virtuoso styles of Paganini and Ernst, plus newer ways of writing of his own, leaning towards Impressionism.
At the start of the First Sonata (track 1) we notice Ibragimova’s deliberate, serious approach, characterised by strong dynamic contrasts and a powerful sense of line. The playing here communicates deep emotional involvement; and she’s equally successful in putting over the graceful, amabile character of the contrasting third movement (tr 3).
The Second Sonata, dedicated to Ysaÿe’s close friend Jacques Thibaud, might appear to contradict what we know of the latter’s easy-going nature and graceful playing, suggesting a darker side. The initial skittish quotation from Bach’s Third Partita for Solo Violin is set against obsessive repetitions of the ‘Dies irae’ chant, which continue throughout the sonata. Ibragimova is equally at home in the gentle, muted, melancholic second movement (tr 6) and the finale, ‘Les Furies’, which she attacks with extraordinary gusto (tr 8). Especially memorable here is the reintroduction of ‘Dies irae’ as a barely audible sul ponticello whisper (1'10"), contrasting with fiercely dissonant arpeggios.
With the single-movement Third Sonata, she draws a convincing distinction between the opening in recitative style, done very freely and as though improvised, and the main theme, held at a firm tempo. As the sonata nears its final climax (tr 9, 7'01"), there’s a sense of throwing caution to the wind, accomplished without any loss of tonal quality.
The Fourth Sonata is dedicated to Fritz Kreisler, with more Bachian echoes, as well as a nod to Kreisler’s interest in reviving – or composing in imitation of – more obscure 18th-century composers, with movements entitled Allemande and Sarabande. The first of these has an extremely slow tempo marking, which Ibragimova treats with freedom, allowing the movement’s different facets to come together to make a satisfying narrative. And in the moto perpetuo finale she makes full use of the varied bow strokes indicated (a tribute to Kreisler?), building up once more a cumulative sense of excitement towards the conclusion.
The Fifth Sonata is dedicated to Ysaÿe’s longtime friend and colleague Mathieu Crickboom. Its opening movement, ‘L’aurore’, is an Impressionistic depiction of dawn breaking, which allows Ibragimova to display a fantastic array of the quietest tone colours. She brings infectious rhythmic vitality to the ‘Danse rustique’ that follows.
As well as its Spanish idiom, the Sixth Sonata most clearly shows Ysaÿe as the heir to the great 19th-century virtuoso tradition – he had, after all, been a pupil of Wieniawski and Vieuxtemps. If we think of Ibragimova as a thoughtful, even scholarly player, here she proves herself adept at all the frequent showy tricks. Ysaÿe had a deeper purpose, of course: this piece’s sparkling surface is designed to portray an ardent character, full of extravagant gestures. And not only do the difficulties hold no terrors for Ibragimova, she also, as throughout the disc, gives a strong impression of having fun playing the music.
It seems very sad that none of the dedicatees of the Ysaÿe Sonatas made recordings of them. It may be that though Ysaÿe the great performer and teacher was revered, his compositions were not considered to be significant – it’s only in recent years that a handful of remarkable late chamber works have been unearthed and played. Whatever the reason, the Op 27 sonatas were virtually ignored until the LP era, and then it was individual works, most commonly No 3, that appeared on disc – with fine accounts by Oistrakh, Grumiaux, Rabin and Odnoposoff. Then came the first recordings of the whole set, by Ruggiero Ricci and Oscar Shumsky (whose 1982 performance is particularly commanding).
Since then, dozens of versions have appeared, giving the works the status of classics. Among them, I’ve always admired Leonidas Kavakos’s exceptionally clear, poised account from 1999. Then there’s Thomas Zehetmair, in 2004, playing with magnificent energy and commitment, and a feeling for the music and sense of fantasy that are different from Ibragimova’s but in no way inferior. However, she takes her place now as one of the most distinguished exponents of these fascinating works.
专辑曲目: 
01. Grave: Lento Assai
02. Fugato: Molto Moderato
03. Allegretto Poco Scherzoso: Amabile
04. Finale Con Brio: Allegro Fermo
05. Obsession, 'Prelude': Poco Vivace
06. Malinconia: Poco Lento
07. Danse Des Ombres, 'Sarabande': Lento
08. Les Furies: Allegro Furioso
09. Sonata For Solo Violin #3
10. Allemanda: Lento Maestoso
11. Sarabande: Quasi Lento
12. Finale: Presto Ma Non Troppo
13. L'Aurore: Lento Assai
14. Danse Rustique: Allegro Giocoso Molto Moderato
15. Sonata For Solo Violin #6
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