12-哈康·奥斯特博 - 《肖邦作品精选》2015年，Hi-Res
艺术家：哈康·奥斯特博
作品名称：《当代视角下的肖邦》
发行年份：2015年
厂牌：西马克经典唱片公司
音乐类型：古典音乐
音质：无损FLAC格式 / FLAC格式，24比特 - 48.0千赫兹
总时长：1小时08分00秒
总大小：224兆字节 / 537兆字节
网站：专辑预览
曲目列表
01. g小调第一叙事曲，作品23号
02. F大调/ a小调第二叙事曲，作品38号
03. 降A大调第三叙事曲，作品47号
04. f小调第四叙事曲，作品52号
05. 升F大调船歌，作品60号
06. B大调夜曲，作品62号，第一首
07. E大调夜曲，作品62号，第二首
08. 降A大调波兰舞曲幻想曲，作品61号
挪威钢琴家哈康·奥斯特博专注于肖邦晚期的核心作品——作品60、61和62号中的一组曲目（升F小调船歌、B大调与E大调夜曲，以及降A大调波兰舞曲幻想曲），还有早期的四首叙事曲——他出色的演绎体现了肖邦对任何多余元素的不容忍。
奥斯特博在《当代视角下的肖邦》中收录的作品，都是肖邦极为凝练风格的绝佳范例。肖邦本人最欣赏的作曲家是巴赫和莫扎特，而从现代角度解读肖邦，会突显他的复调作曲风格。他是一位在很大程度上不受外界影响、独自创作的艺术家。据舒曼所说，肖邦是第一个将 “叙事曲” 一词用于指代无歌词音乐作品的人。他花了11年时间创作的四首叙事曲，在他的作品中也代表着一种全新的创作方向。
在肖邦的晚期作品中，他在多个层面上都渴望拓展和延长不稳定的音乐段落。同样，他还制造出一些未被满足的音乐期待，并有意营造出片段化的效果，比如在《波兰舞曲幻想曲》中就是如此。奥拉夫·埃格斯塔德在富有洞察力的唱片内页文字中指出，肖邦的晚期风格在我们这个时代尤为相关——在这个时代，实证知识与诗意并非相互矛盾。
哈康·奥斯特博作为一位顶级钢琴家，已经活跃了五十多年。他的众多录音作品中，在西马克唱片公司发行的包括斯克里亚宾的奏鸣曲、德彪西的钢琴独奏作品全集、梅西安的《异国鸟》（他是一位著名的梅西安作品专家）、从埃利奥特·卡特到罗尔夫·瓦林的各种当代作品，以及与大提琴家特鲁尔斯·莫尔克合作录制的弗兰克、普朗克、德彪西和肖松的作品二重奏。
《当代视角下的肖邦》的发行，恰逢哈康·奥斯特博在挪威音乐学院领导的大型研究项目 “反思型音乐家” 结束。该项目旨在揭示那些能够带来对古典和当代作品进行真实且个性化演绎的内在力量。这意味着要以全新的视角审视那些为人熟知的曲目，摆脱传统的束缚。
Artist: Håkon Austbø
Title: Chopin Now
Year Of Release: 2015
Label: Simax Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz
Total Time: 01:08:00
Total Size: 224 / 537 mb
WebSite: Album Preview
Tracklist
01. Ballade No. 1 in G minor, Op. 23
02. Ballade No. 2 in F Major/ A minor, Op. 38
03. Ballade No. 3 in A-flat major, Op. 47
04. Ballade No. 4 in F minor, Op. 52
05. Barcarolle in F sharp major, Op. 60
06. Nocturne in B major, Op. 62 No. 1
07. Nocturne in E major, Op. 62 No. 2
08. Polonaise-Fantaisie in A-flat major, Op. 61
Norwegian pianist Håkon Austbø focuses on central works of Chopin’s late period - the cluster of opp. 60, 61 and 62 (the Barcarolle in F minor, Nocturnes in B major and E major, and the Polonaise-Fantaisie in A flat) and the earlier Four Ballades - in outstanding interpretations reflecting the composer’s intolerance of anything superfluous.
The pieces Austbø includes on ‘Chopin Now’ are all great examples of Chopin’s extremely focused style. The composers he himself appreciated the most were Bach and Mozart, and a modern reading of Chopin underlines his polyphonic style of composition. He was an artist who remained to a large extent unaffected by external influences, working in solitude. According to Schumann, Chopin was the first to use the term ballade about a piece of music without a text. The Four Ballades, which he worked on over 11 years, also represent something completely new in his output.
In his late works Chopin follows his desire to broaden and lengthen unstable sequences - on several levels. Likewise he creates expectations that are not fulfilled and cultivates the fragmentary, as in the Polonaise-Fantaisie. In his perceptive liner note, Olaf Eggestad makes a point of how Chopin’s late style is particularly relevant in our own times - where empirical knowledge and the poetic are not contradictions.
Håkon Austbø has been active as a pianist at the highest level for over 50 years. His many recordings include, on Simax, the Scriabin Sonatas, Debussy’s Complete Works for Solo Piano, Messiaen’s Oiseaux Exotiques (he is a renowned Messiaen specialist), various contemporary pieces ranging from Elliott Carter to Rolf Wallin, and a duo recording of Franck, Poulenc, Debussy and Chausson with cellist Truls Mørk.
The release of ‘Chopin Now’ coincides with the end of the immense research project ‘The Reflective Musician’, which Austbø has headed at the Norwegian Academy of Music. The project has aimed at the unveiling of forces which lead to genuine and personal interpretations of classical and contemporary works. This implied looking with fresh eyes at well-known repertoire, free from the ballast of tradition.
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