15-亚莎·海菲兹、伦敦爱乐乐团《萨拉萨蒂小提琴与管弦乐队作品》（2020年）Hi-Res
艺术家：亚莎·海菲茨、伦敦爱乐乐团、约翰·巴比罗利爵士
作品名称：《维尼亚夫斯基、圣-桑、维厄当与萨拉萨蒂：小提琴与管弦乐队作品（重新灌录版）》
发行年份：2020年
厂牌：华纳古典唱片公司
音乐类型：古典音乐
音质：24比特-192千赫兹FLAC分轨格式
总时长：68分39秒
总大小：1.21吉字节
网站：专辑预览
曲目列表
01. d小调第二小提琴协奏曲，作品22号：第一乐章 中板快板（7分51秒）
02. d小调第二小提琴协奏曲，作品22号：第二乐章 浪漫曲。不过分的快板（5分18秒）
03. d小调第二小提琴协奏曲，作品22号：第三乐章 热情的快板 - 中板快板（5分44秒）
04. 《引子与随想回旋曲》，作品28号（8分50秒）
05. d小调第四小提琴协奏曲，作品31号：第一乐章 行板 - 华彩乐段（6分36秒）
06. d小调第四小提琴协奏曲，作品31号：第二乐章 虔诚的行板（6分13秒）
07. d小调第四小提琴协奏曲，作品31号：第三乐章 谐谑曲。活泼地 - 三声中部。稍慢（4分12秒）
08. d小调第四小提琴协奏曲，作品31号：第四乐章 庄严的终曲。行板 - 快板（6分08秒）
09. 《哈瓦奈斯》，作品83号（9分12秒）
10. 《流浪者之歌》，作品20号（8分40秒）
这里的唱片内页说明讲述了一个非凡的故事：1935年的一天上午11点，巴比罗利结束国外访问后，刚下火车，就被告知下午2点他要和海菲茨一起录制维厄当的第四小提琴协奏曲——这是一部他甚至从未听过，更别说见过的作品。他使用一本“因年代久远而泛黄，翻页时纸张都 crumbling（此处可译为“ crumbling（此处可译为“碎裂” ））”的乐谱，然而，这部作品还是在一次录音中就完成了录制——这不仅彰显了巴比罗利的专业素养和技艺，也体现了海菲茨对这位当时36岁（比海菲茨自己大两岁）的指挥家的信任，毕竟在此之前，海菲茨已经和他一起录制过格拉祖诺夫和莫扎特的协奏曲，认为他是最出色的协奏者。从表面上看，正如AS在1987年10月评论这张黑胶唱片合辑时（无进一步可查信息）所说，考虑到这两位艺术家不同的气质，他们的合作可能会让人感到意外；但事实证明，他们的合作非常成功。
在演奏这部四乐章协奏曲（它赢得了柏辽兹的赞誉）时，充满了浪漫的激情，其前两个乐章的抒情性，以及单小节谐谑曲（巴比罗利第一次看到这个部分时吓了一跳，这也不足为奇）和终曲中令人惊叹的高超技艺都格外引人注目，而海菲茨以炉火纯青的技巧完美地演绎了这些部分。
奇怪的是，仅仅四天后录制的维尼亚夫斯基的协奏曲和圣-桑的《引子与随想回旋曲》的音效却不尽如人意。管弦乐队的声音听起来有些遥远且压缩，海菲茨的音色也显得比较微弱，尽管非常甜美（在动人的《浪漫曲》中，他快速的颤音尤为明显）：然而，没有什么能掩盖他那令人惊叹的敏捷和精准无误的音准，他在维尼亚夫斯基协奏曲终曲中的跳弓演奏十分精彩，他在圣-桑作品中的精湛技艺也是如此，尤其是在萨拉萨蒂的《流浪者之歌》中，很难想象还有比这更精彩绝伦的演奏了。1937年录制的作品在小提琴和管弦乐队的音色圆润度和饱满度方面都要出色得多；而且原始的78转唱片几乎没有背景噪音。太棒了！（《留声机》杂志）
亚莎·海菲茨，小提琴
伦敦爱乐乐团
约翰·巴比罗利爵士，指挥
数字重新灌录
Artist: Jascha Heifetz, London Philharmonic Orchestra & Sir John Barbirolli
Title: Wieniawski, Saint-Saëns, Vieuxtemps & Sarasate: Works for Violin and Orchestra (Remastered)
Year Of Release: 2020
Label: Warner Classics
Genre: Classical
Quality: 24bit-192kHz FLAC (tracks)
Total Time: 68:39
Total Size: 1.21 GB
WebSite: Album Preview
Tracklist:
01. Violin Concerto No. 2 in D Minor, Op. 22: I. Allegro moderato (7:51)
02. Violin Concerto No. 2 in D Minor, Op. 22: II. Romance. Allegro non troppo (5:18)
03. Violin Concerto No. 2 in D Minor, Op. 22: III. Allegro con fuoco - Allegro moderato (5:44)
04. Introduction et rondo capriccioso, Op. 28 (8:50)
05. Violin Concerto No. 4 in D Minor, Op. 31: I. Andante - Cadenza (6:36)
06. Violin Concerto No. 4 in D Minor, Op. 31: II. Andante religioso (6:13)
07. Violin Concerto No. 4 in D Minor, Op. 31: III. Scherzo. Vivace - Trio. Meno mosso (4:12)
08. Violin Concerto No. 4 in D Minor, Op. 31: IV. Finale marziale. Andante - Allegro (6:08)
09. Havanaise, Op. 83 (9:12)
10. Zigeunerweisen, Op. 20 (8:40)
The insert-note here relates the remarkable story that Barbirolli, stepping off the boat-train at 11 o'clock one morning in 1935 after a visit abroad, was told that at 2 o'clock he was to record Vieuxtemps's Concerto No. 4—a work he had never even heard, let alone seen—with Heifetz. Using a score "so yellow with age that the pages crumbled" as they were turned, the work was nevertheless recorded in a single session—a tribute not only to Barbirolli's professionalism and skill but also to Heifetz's confidence in the conductor (then aged 36, two years older than himself), having already recorded concertos by Glazunov and Mozart with him, as the most able of accompanists. On the face of it, as AS remarked when reviewing this collection on LP (10/87— nla), the combination may have seemed surprising, in view of the different temperaments of the two artists; but it certainly worked. There is a romantic fervour in the performance of this fourmovement concerto (which won Berlioz's praise), and which is notable for the lyricism of its first two movements and the spectacular virtuosity of its one-in-a-bar Scherzo (the first sight of which alarmed Barbirolli, and no wonder) and of its finale, both of which Heifetz dispatches with consummate mastery.
The sound is less good, oddly enough, in the Wieniawski concerto and Saint-Saens's Introduction and Rondo capriccioso recorded only four days later. The orchestra is recessed and compressed, and Heifetz's tone is made to appear rather small, though very sweet (with his quick vibrato particularly noticeable in the lovable Romance): nothing, however, can disguise the infallibility of his stunning agility and intonation, and his spiccato in the finale of the Wieniawski is delightful, as is his virtuosity in the Saint-Saens pieces and, especially, Sarasate's Zigeunerweisen, of which it would be hard to imagine a more wonderful performance. The 1937 recordings are greatly superior in roundness and fullness of tone, both of the violin and of the orchestra; and there is virtually no background noise from the original 78s. Terrific! (Gramophone)
Jascha Heifetz, violin
London Philharmonic Orchestra
Sir John Barbirolli, conductor
Digitally remastered
**** Hidden Message *****
Jascha Heifetz的东西不错
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