12-瑞典室内乐团《莫扎特单簧管与管弦乐队作品》（2013年）Hi-Res
艺术家：瑞典室内乐团、迈克尔·柯林斯（Michael Collins）
作品名称：《莫扎特、科普兰与卡特-切尔宁：单簧管与管弦乐队作品》
发行年份：2013年
厂牌：钱德斯唱片公司（Chandos）
音乐类型：古典音乐
音质：无损FLAC格式 / 24比特 - 96.0千赫兹FLAC格式 附带小册子
总时长：1小时06分25秒
总大小：279兆字节 / 740兆字节
网站：专辑预览
曲目列表
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01. A大调单簧管协奏曲，作品K. 622：第一乐章. 快板
02. A大调单簧管协奏曲，作品K. 622：第二乐章. 柔板
03. A大调单簧管协奏曲，作品K. 622：第三乐章. 回旋曲。快板
04. 单簧管协奏曲：第一乐章. 缓慢且富有表现力地
05. 单簧管协奏曲：第二乐章. 相当快地
06. 《装饰性曲调》：第一部分. 四分音符 = 192 - 200 - 突然的速度变化。二分音符 = 126 - 速度一 - 四分音符 = 100
07. 《装饰性曲调》：第二部分. 二分音符 = 80（或更慢）- 稍快 [二分音符 = 108] - [非常慢]
08. 《装饰性曲调》：第三部分. 四分音符 = 144 - 更慢，即兴 - （稍快）
迈克尔·柯林斯身兼单簧管独奏家和指挥家双重角色，他带领瑞典室内乐团演奏了三部作品，这些作品描绘了单簧管从18世纪晚期莫扎特所处的欧洲，经由20世纪40年代阿伦·科普兰所在的美国，一直到当今古典音乐舞台的发展历程。其中包括澳大利亚作曲家埃琳娜·卡特-切尔宁（Elena Kats-Chernin）于2007年为迈克尔·柯林斯创作的一部作品。
莫扎特在1791年去世前几周，为首位伟大的单簧管演奏家安东·施塔德勒（Anton Stadler）创作了他的《单簧管协奏曲》。施塔德勒当时使用的乐器就是如今被称为巴塞特单簧管的乐器，这种乐器在不影响高音音域的情况下，增加了额外的低音音符。遗憾的是，莫扎特的原始手稿乐谱已经遗失。不过，近年来，编辑者和演奏者们多次尝试去还原莫扎特的最初意图，这里录制的版本就是其中一种重构版本。这部协奏曲具有一种宁静且略带无奈的美感，这种美感在《魔笛》以及莫扎特的《安魂曲》中也能找到。
阿伦·科普兰的《单簧管协奏曲》是在1947年应本尼·古德曼（Benny Goodman）的委托而创作的。本尼·古德曼是摇摆乐时代最著名的乐队指挥，他被认为使爵士乐变得“受人尊敬”。古德曼还有作为古典单簧管演奏家的第二重职业身份。他渴望通过邀请知名作曲家为他创作作品来丰富单簧管的演奏曲目，而科普兰欣然接受了这一挑战。
埃琳娜·卡特-切尔宁是澳大利亚的顶尖作曲家之一。她的《装饰性曲调》创作于2007年，是应包括瑞典室内乐团在内的一些乐团的委托而作，迈克尔·柯林斯是预定的独奏者。这部作品的总谱在很大程度上以莫扎特的《单簧管协奏曲》为蓝本。不仅管弦乐队的编制相同——两支长笛、两支巴松管、两支圆号以及弦乐器——而且独奏乐器也是巴塞特单簧管，莫扎特的协奏曲也是为这种乐器而写的。卡特-切尔宁的创作充分利用了这种乐器极为宽广的音域，以及它在技巧性和抒情性方面的潜力。
Artist: Swedish Chamber Orchestra, Michael Collins
Title: Mozart, Copland & Kats-Chernin: Works for Clarinet & Orchestra
Year Of Release: 2013
Label: Chandos
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:06:25
Total Size: 279 / 740 mb
WebSite: Album Preview
Tracklist
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01. Clarinet Concerto in A Major, K. 622: I. Allegro
02. Clarinet Concerto in A Major, K. 622: II. Adagio
03. Clarinet Concerto in A Major, K. 622: III. Rondo. Allegro
04. Clarinet Concerto: I. Slowly and expressively -
05. Clarinet Concerto: II. Rather fast
06. Ornamental Air: I. Quarter note = 192-200-Sudden tempo change. Half note = 126-Tempo I-Quarter note = 100 -
07. Ornamental Air: II. Half note = 80 (or slower)-Più mosso -
08. Ornamental Air: III. Quarter note = 144-Slower, ad lib.-(Piu mosso)
Michael Collins combines the roles of clarinet soloist and conductor as he leads the Swedish Chamber Orchestra in three works that chart the journey of the clarinet from Mozart’s late eighteenth-century Europe, via Aaron Copland’s 1940s America, to today’s classical scene with a piece written, for Michael Collins, in 2007 by the Australian composer Elena Kats-Chernin.
Mozart composed his Clarinet Concerto, just weeks before his death in 1791, for Anton Stadler, the first great clarinet virtuoso. Stadler performed the work on what today is known as the basset clarinet, which features additional low notes without compromising the higher register. Unfortunately, Mozart’s manuscript score has been lost. In recent years, however, editors and performers have made several attempts to determine Mozart’s original intentions, and the version recorded here represents one such reconstruction. The concerto has a quality of serene and resigned beauty, recognisable from Die Zauberflöte, and from Mozart’s Requiem.
Aaron Copland’s Clarinet Concerto was commissioned in 1947 by Benny Goodman, the most famous band leader of the swing era, who has been credited with having made jazz ‘respectable’. Goodman also had a second career as a classical clarinettist. He was eager to enrich the repertoire by inviting major composers to write for him, and Copland was happy to take on the challenge.
Elena Kats-Chernin is one of Australia’s leading composers. Her Ornamental Air was written in 2007 in response to a commission from a group of orchestras including the Swedish Chamber Orchestra, with Michael Collins as the intended soloist. The score is modelled closely on the Clarinet Concerto by Mozart. Not only are the orchestral forces identical – two flutes, two bassoons, two horns, and strings – but the solo instrument is the basset clarinet, for which Mozart also wrote his concerto. Kats-Chernin’s writing here takes full advantage of the exceptionally wide range of the instrument, as well as its potential for both virtuosity and lyricism.
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