11-女性之声 卡特琳·施密德林2021 Hi-Res 24bits - 88.2kHz
艺术家：卡特琳·施密德林、安娜·福尔托娃
标题：女性之声卡特琳·施密德林
发行年份：2021年
厂牌：Claves唱片
类型：古典音乐
音质：无损FLAC格式 / 24位-88.2kHz FLAC格式（含小册子）
总时长：1小时03分50秒
总大小：284兆字节 / 1.02吉字节
网站：专辑预览
曲目列表
01. 两首回旋曲，为大提琴与钢琴而作，作品25号
02. 三首小品，为大提琴与钢琴而作：I. 中板
03. 三首小品，为大提琴与钢琴而作：II. 自由从容的速度
04. 三首小品，为大提琴与钢琴而作：III. 快速且充满节奏感
05. 三首钢琴小品：I. 旧花园
06. 三首钢琴小品：II. 明亮花园
07. 三首钢琴小品：III. 队列
08. 大提琴与钢琴奏鸣曲：I. 庄严的快板
09. 大提琴与钢琴奏鸣曲：II. 稍快的小快板
10. 大提琴与钢琴奏鸣曲：III. 柔板
11. 大提琴与钢琴奏鸣曲：IV. 热烈的快板
12. 《一年》，12首钢琴性格小品：V. 五月，春之歌，活泼欢快的快板
13. 《一年》，12首钢琴性格小品：VII. 七月，小广板
14. 《一年》，12首钢琴性格小品：IX. 九月，在河边，流动的行板
15. 《一年》，12首钢琴性格小品：XI. 十一月，忧郁地
16. 《无处，亦无方式》，为大提琴与钢琴而作
卡特琳·施密德林与安娜·福尔托娃演绎《女性之声》（2021年高解析度版）
这张专辑汇聚了东西方六位来自不同文化背景的女性作曲家的有力之声。她们的音乐跨越浪漫主义、印象主义、新古典主义直至当代，生动的音乐意象与纯音乐交织，严谨的奏鸣曲式与充满细腻诗意的自由形式并存。
在19至20世纪以男性作曲家（如贝多芬、勃拉姆斯、布鲁克纳、巴托克等）为主导的标准曲目中，越来越多曾被遗忘或压制的女性作曲家作品重新焕发光彩，例如格拉日yna·巴采维奇、阿加特·巴克-格伦达尔、埃尔莎·巴拉伊内、艾米·马西·比奇、西尔维·博多罗瓦、梅尔·博尼斯、亨丽埃特·博斯曼斯、莉莉与娜迪亚·布朗热，以及乔安娜·布鲁兹多维茨等（她们的姓氏首字母恰好与男性作曲家一样以“B”开头）。
莉莉·布朗热与维捷斯拉夫·卡普拉洛娃有着悲剧性的命运——两人均于24岁英年早逝。
维捷斯拉夫·卡普拉洛娃（1915-1940）是雅纳切克得意门生瓦茨拉夫·卡普拉尔之女，生于布尔诺，自幼被视为音乐神童：5岁开始学习钢琴，9岁起尝试作曲。她在布拉格音乐学院师从德沃夏克的学生维捷斯拉夫·诺瓦克学习作曲，并跟随瓦茨拉夫·塔利希学习指挥。1937年起定居巴黎，随博胡斯拉夫·马蒂努继续深造。1938年，她在伦敦举办的第16届国际当代音乐协会音乐节上指挥自己的《军事小交响曲》世界首演，大获成功。她的音乐座右铭是：“我要让男人们看看该怎么做！”逝世当年，她仅完成了计划中的两首《回旋曲》中的一首，正如专辑中听到的那样，充满蓬勃生命力。
娜迪亚·朱丽叶·布朗热（1887-1979）生于巴黎、逝于巴黎，虽在25岁后停止作曲，却以作曲教师的身份闻名。她的《三首小品》中，前两首原为早期管风琴作品，第三首则是融入西班牙元素的原创之作。
巴黎作曲家玛丽-朱丽叶·奥尔加·莉莉·布朗热（1893-1918）因康塔塔《浮士德与海伦》成为首位斩获传奇性罗马大奖的女性而一夜成名。她自幼体弱多病，于1918年3月15日离世，仅比她的榜样克劳德·德彪西早十天。1914年在罗马期间，她创作了富有表现力与氛围感的《旧花园》《明亮花园》《队列》，第一首以大胆的和声转换著称，后两首则显露出德彪西的影响。
亨丽埃特·希尔达·博斯曼斯（1895-1952）生于阿姆斯特丹，在当地音乐学院学习，并私下师从作曲家威廉·皮珀。她为法语诗歌创作了大量艺术歌曲，另有多部管弦乐独奏作品、一首弦乐四重奏及1919年的《a小调大提琴与钢琴奏鸣曲》。庄严的第一乐章以有力的和弦开篇，第四乐章又以同样的和弦收尾，形成首尾呼应。
费利克斯·门德尔松的姐姐范妮·塞西莉亚·亨塞尔-门德尔松（1805-1847）生于汉堡，1829年嫁与画家威廉·亨塞尔，逝于莱比锡。她1841年的《一年》组曲由12首性格小品组成，创作灵感源于意大利之旅：洋溢着春天气息的“五月”仿佛蕴含着无词歌的灵魂；“七月”的中段以戏剧性的高潮与低音区不祥的震音形成张力；“九月·在河边”则倾诉着忧郁情愫；“十一月”中，“热情的”旋律勾勒出秋日风暴的图景。
斯蒂芬妮·海恩斯勒1986年生于巴登，在苏黎世艺术大学师从罗伯特·齐曼斯基（小提琴）与伊莎贝尔·蒙德里（作曲）。她的作品《无处，亦无方式》基于智利女性艺术家团体抗议暴力侵害女性的文本创作，受卡特琳·施密德林与安娜·福尔托娃委托，为纪念2021年瑞士女性获得选举权50周年而作。作品探讨“自由从何处开始”，以及拥有发声权、表达权与话语权的意义，以细腻的情感层次为受压迫与虐待的女性发声，对声音与噪音的深刻探索展现了这位关注社会议题的作曲家的卓越掌控力。
Artist: Kathrin Schmidlin, Anna Fortova
Title: Frauenstimmen
Year Of Release: 2021
Label: Claves Records
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
Total Time: 01:03:50
Total Size: 284 mb / 1.02 gb
WebSite: Album Preview
Tracklist
01. Deux ritournelles für Violoncello und Klavier, Op. 25
02. Trois pièces pour violoncelle et piano: I. Modéré
03. Trois pièces pour violoncelle et piano: II. Sans vitesse et à l‘aise
04. Trois pièces pour violoncelle et piano: III. Vite et nerveusement rythmé
05. Trois morceaux pour piano: I. D‘un vieux jardin
06. Trois morceaux pour piano: II. D‘un jardin clair
07. Trois morceaux pour piano: III. Cortège
08. Sonate voor violoncel en piano: I. Allegro maestoso
09. Sonate voor violoncel en piano: II. Un poco allegretto
10. Sonate voor violoncel en piano: III. Adagio
11. Sonate voor violoncel en piano: IV. Allegro molto e con fuoco
12. Das Jahr, 12 Charakterstücke für das Forte-Piano: V. Mai. Frühlingslied. Allegro vivace e gioioso
13. Das Jahr, 12 Charakterstücke für das Forte-Piano: VII. Juli. Larghetto
14. Das Jahr, 12 Charakterstücke für das Forte-Piano: IX. September. Am Flusse. Andante con moto
15. Das Jahr, 12 Charakterstücke für das Forte-Piano: XI. November. Mesto
16. Ni dónde, ni cómo für Violoncello und Klavier
Kathrin Schmidlin, Anna Fortova - Frauenstimmen (2021)
Compositions from both East and West here bring together the powerful voices of six women composers from contrasting cultures. Their music ranges from the Romantic period via Impressionism and Neoclassicism to the present. Vivid impressions alternate with absolute music, strict sonata forms with free forms full of delicate musical poetry.
The standard repertoire of the 19th and 20th centuries, dominated by the male “Bs” Beethoven, Brahms, Bruckner, Bartók and others like them, is increasingly being freshened up by works either long forgotten or suppressed that were composed by women who just happen to have the same initial for their surnames, such as Grażyna Bacewicz, Agathe Backer-Grøndahl, Elsa Barraine, Amy Marcy Beach, Sylvie Bodorová, Mel Bonis, Henriëtte Bosmans, Lili and Nadia Boulanger and Joanna Bruzdowicz.
Lili Boulanger and Vítězslava Kaprálová are united by a tragic fate, for both died at the age of just 24.
Vítězslava Kaprálová (1915-1940) was the daughter of Janáček’s master student Václav Kaprál. She was born in Brno, and was early on recognised as a musical Wunderkind. She took her first piano lessons at the age of five, and began to compose at nine. She trained at the Prague Conservatory, studying composition under Vítězslav Novák, a former student of Dvořák’s, and conducting with Václav Talich. From 1937 onwards she lived in Paris, where she competed her composition studies with Bohuslav Martinů. She enjoyed a resounding success in 1938 when she conducted the world première of her own Military Sinfonietta at the 16th Festival of the International Society for Contemporary Music in London. Her musical motto was: “I want to show the men how it’s done!”. She was only able to complete one of two Ritornelli that she had planned in the year of her death. As can be heard here, it oozes energy.
Nadia Juliette Boulanger (1887-1979) was born and died in Paris. Although she ceased composing at 25, she made her name as a composition teacher. Of her Trois Morceaux (“Three pieces”), the first two began as early organ pieces, while the third is an original work enriched with Spanish elements.
The Parisian composer Marie-Juliette Olga Lili Boulanger (1893-1918) achieved overnight fame when she became the first woman to win the legendary Grand Prix de Rome, with her cantata Faust et Hélène. She was often sick as a child, and she died on 15 March 1918, just ten days before her role model Claude Debussy. It was in Rome in 1914 that she composed the expressive, atmospheric scenes conjured up in her D’un vieux jardin (“Of an old garden”), D’un jardin clair (“Of a bright garden”) and Cortège. The first piece is notable for its bold harmonic shifts, while the other two reveal the influence of Debussy.
Henriëtte Hilda Bosmans (1895-1952) was born in Amsterdam, where she studied at the Conservatory and also privately with the composer Willem Pijper. She composed numerous songs to French texts, several solo works with orchestra, a string quartet and the Sonata in A minor for cello and piano (1919). Mighty chords open the majestic first movement and also close the fourth – thereby closing the circle.
Felix Mendelssohn Bartholdy’s sister Fanny Caecilia Hensel-Mendelssohn (1805-1847) was born in Hamburg, and in 1829 married the painter Wilhelm Hensel. She died in Leipzig. Her cycle Das Jahr (“The year”) of 1841 comprises 12 character pieces, and was composed as a reminiscence of a trip to Italy. The springlike “May” seems to bear within it the spirit of a song without words. The middle section of “July” has a dramatic climax, with ominous tremolandi in the bass; this offers the greatest possible contrast to the melancholic sentiments express in “September. By the river”. In “November”, we hear an autumn storm, “appassionato”.
Stephanie Haensler was born in Baden in 1986 and studied with Robert Zimansky (violin) and Isabel Mundry (composition) at the Zurich University of the Arts. Her composition “ni dónde, ni cómo” (“neither where nor how”) is based on the text of a Chilean women’s artists’ collective, protesting about violence against women. She composed it to a commission from Kathrin Schmidlin and Anna Fortova to commemorate the fiftieth anniversary of women’s suffrage in Switzerland in 2021. She here explores the question as to where freedom begins, and what it means to have a voice and the right to express yourself and to have a say in things.
The many sophisticated expression markings and performance instructions here use the subtlest emotional nuances to provide a voice to oppressed, maltreated women. This work’s profound exploration of sound and noise displays the brilliant mastery of this socially committed composer.
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