14-维瓦尔第：《和谐的灵感》作品3号12首协奏曲 (2015) [Hi-Res]
艺术家：雷切尔·波杰，布雷肯巴洛克乐团
标题：维瓦尔第：《和谐的灵感》作品3号12首协奏曲
发行年份：2014年
厂牌：Channel Classics Records
类型：古典音乐
音质：FLAC（分轨）/24位-192kHz FLAC（分轨+小册子）
总时长：1小时36分42秒
总大小：486兆字节/2.95千兆字节
网站：专辑预览
曲目单
1. D大调第一协奏曲，RV 549：I. 快板（3:01）
2. D大调第一协奏曲，RV 549：II. 庄严的广板（2:15）
3. D大调第一协奏曲，RV 549：III. 快板（2:32）
4. g小调第二协奏曲，RV 578：I. 庄严的柔板—快板（3:50）
5. g小调第二协奏曲，RV 578：II. 小广板（2:40）
6. g小调第二协奏曲，RV 578：III. 快板（2:37）
7. G大调第三协奏曲，RV 310：I. 快板（2:18）
8. G大调第三协奏曲，RV 310：II. 广板（2:09）
9. G大调第三协奏曲，RV 310：III. 快板（2:20）
10. e小调第四协奏曲，RV 550：I. 行板（1:45）
11. e小调第四协奏曲，RV 550：II. 很快的快板（2:16）
12. e小调第四协奏曲，RV 550：III. 柔板—快板（2:41）
13. A大调第五协奏曲，RV 519：I. 快板（2:53）
14. A大调第五协奏曲，RV 519：II. 广板（1:25）
15. A大调第五协奏曲，RV 519：III. 快板（2:57）
16. a小调第六协奏曲，RV 356：I. 快板（2:57）
17. a小调第六协奏曲，RV 356：II. 广板（1:54）
18. a小调第六协奏曲，RV 356：III. 急板（2:30）
19. F大调第七协奏曲，RV 567：I. 行板（2:26）
20. F大调第七协奏曲，RV 567：II. 柔板（1:13）
21. F大调第七协奏曲，RV 567：III. 柔板—快板（4:45）
22. a小调第八协奏曲，RV 522：I. 快板（3:14）
23. a小调第八协奏曲，RV 522：II. 活泼的小广板（2:46）
24. a小调第八协奏曲，RV 522：III. 快板（2:58）
25. D大调第九协奏曲，RV 230：I. 快板（2:05）
26. D大调第九协奏曲，RV 230：II. 小广板（2:34）
27. D大调第九协奏曲，RV 230：III. 快板（2:14）
28. b小调第十协奏曲，RV 580：I. 快板（3:27）
29. b小调第十协奏曲，RV 580：II. 广板—小广板（1:57）
30. b小调第十协奏曲，RV 580：III. 快板（3:28）
31. d小调第十一协奏曲，RV 565：I. 快板—柔板（4:02）
32. d小调第十一协奏曲，RV 565：II. 庄严的广板（2:20）
33. d小调第十一协奏曲，RV 565：III. 快板（2:31）
34. E大调第十二协奏曲，RV 265：I. 快板（3:24）
35. E大调第十二协奏曲，RV 265：II. 广板（3:37）
36. E大调第十二协奏曲，RV 265：III. 快板（2:59）
**专辑解析**
维瓦尔第的音乐始终以无与伦比的娱乐性打动着我。他的音乐形态与音型仿佛专为愉悦与惊喜而生——虽常带有独特的个人风格，却总能让人感受到他在创作时心中仿佛有特定的对象，精准传递情感。在《和谐的灵感》这12首协奏曲中，这些特质尤为显著：维瓦尔第似乎不遗余力地向世界展示他的作曲技艺，几乎像是为18世纪协奏曲的创作范式“摆摊示范”。
支撑其创意与细节把控的，是源源不断的动力引擎：大量半音符构成的强劲织体、独奏者之间的快速技巧交锋，让作品始终充满原始能量。这些乐章在演奏中令人热血沸腾，而现场观众的反应也印证了其冲击力——很少能见到四把小提琴竞相炫技的场景！在布雷肯巴洛克乐团录音前的巡演中，四个声部间如击剑般的音乐对话总能掀起期待与兴奋，而维瓦尔第在任何调式中都能融入的深沉忧郁更显张力：如同舒伯特，他笔下的大调也能像小调一样，在悲伤或失落的情境中传递出强烈的感染力。例如第九号（D大调）和第十二号（E大调）协奏曲的慢乐章，字里行间流露出精致的 tenderness，脆弱、纯真而短暂，让人不禁思索这些段落究竟为谁而写……
感谢所有杰出的同事，在演奏和录制这些美妙协奏曲的过程中，我们共同经历了许多充满力量、温柔与喜悦的时刻——这些曾令巴赫着迷的作品，至今仍焕发着维瓦尔第式的璀璨光彩。
——雷切尔·波杰
**乐团阵容**
雷切尔·波杰，小提琴/指挥
博扬·西西奇，小提琴（第2、11首独奏）
约翰内斯·普拉姆索勒，小提琴（第5、8首独奏）
萨宾·斯托弗，小提琴
詹斯·罗杰斯，中提琴
里卡多·昆德·伊苏基萨，中提琴
艾莉森·麦吉利夫雷，大提琴
扬·斯宾塞，低音提琴
达尼埃莱·卡米尼蒂，鲁特琴
大卫·米勒，鲁特琴/吉他
马钦·斯维亚特基维奇，羽管键琴/管风琴
Artist: Rachel Podger, Brecon Baroque
Title: Vivaldi: 12 Concertos, Op. 3 "L'Estro Armonico"
Year Of Release: 2014
Label: Channel Classics Records
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks+booklet)
Total Time: 01:36:42
Total Size: 486 MB / 2.95 GB
WebSite: Album Preview
Tracklist:
1. Concerto No. 1 in D Major, RV 549: I. Allegro (3:01)
2. Concerto No. 1 in D Major, RV 549: II. Largo e spiccato (2:15)
3. Concerto No. 1 in D Major, RV 549: III. Allegro (2:32)
4. Concerto No. 2 in G minor, RV 578: I. Adagio e spiccato - Allegro (3:50)
5. Concerto No. 2 in G minor, RV 578: II. Larghetto (2:40)
6. Concerto No. 2 in G minor, RV 578: III. Allegro (2:37)
7. Concerto No. 3 in G Major, RV 310: I. Allegro (2:18)
8. Concerto No. 3 in G Major, RV 310: II. Largo (2:09)
9. Concerto No. 3 in G Major, RV 310: III. Allegro (2:20)
10. Concerto No. 4 in E Minor, RV 550: I. Andante (1:45)
11. Concerto No. 4 in E Minor, RV 550: II. Allegro assai (2:16)
12. Concerto No. 4 in E Minor, RV 550: III. Adagio - Allegro (2:41)
13. Concerto No. 5 in A Major, RV 519: I. Allegro (2:53)
14. Concerto No. 5 in A Major, RV 519: II. Largo (1:25)
15. Concerto No. 5 in A Major, RV 519: III. Allegro (2:57)
16. Concerto No. 6 in A Minor, RV 356: I. Allegro (2:57)
17. Concerto No. 6 in A Minor, RV 356: II. Largo (1:54)
18. Concerto No. 6 in A Minor, RV 356: III. Presto (2:30)
19. Concerto No. 7 in F Major, RV 567: I. Andante (2:26)
20. Concerto No. 7 in F Major, RV 567: II. Adagio (1:13)
21. Concerto No. 7 in F Major, RV 567: III. Adagio - Allegro (4:45)
22. Concerto No. 8 in A Minor, RV 522: I. Allegro (3:14)
23. Concerto No. 8 in A Minor, RV 522: II. Larghetto e spiritoso (2:46)
24. Concerto No. 8 in A Minor, RV 522: III. Allegro (2:58)
25. Concerto No. 9 in D Major, RV 230: I. Allegro (2:05)
26. Concerto No. 9 in D Major, RV 230: II. Larghetto (2:34)
27. Concerto No. 9 in D Major, RV 230: III. Allegro (2:14)
28. Concerto No. 10 in B Minor, RV 580: I. Allegro (3:27)
29. Concerto No. 10 in B Minor, RV 580: II. Largo - Larghetto (1:57)
30. Concerto No. 10 in B Minor, RV 580: III. Allegro (3:28)
31. Concerto No. 11 in D Minor, RV 565: I. Allegro - Adagio (4:02)
32. Concerto No. 11 in D Minor, RV 565: II. Largo e spiccato (2:20)
33. Concerto No. 11 in D Minor, RV 565: III. Allegro (2:31)
34. Concerto No. 12 in E Major, RV 265: I. Allegro (3:24)
35. Concerto No. 12 in E Major, RV 265: II. Largo (3:37)
36. Concerto No. 12 in E Major, RV 265: III. Allegro (2:59)
Vivaldi has, above all, always struck me as wonderfully entertaining. His musical shapes and figurations seem to exist in order to please and surprise. Always supremely idiomatic (although sometimes idiosyncratically specific), there’s also that sense of directing a sensation with a particular person in mind. In the 12 Concertos which comprise ‘L’Estro Armonico’, these qualities abound, not least because Vivaldi appears to have taken extraordinary trouble to exhibit his craft to the world, almost as a way of ‘setting out a stall’ for how a new 18thcentury concerto could now be written in the right hands. Underpinning Vivaldi’s flair, originality and meticulous attention to detail is an engine room of momentum: raw energy is regularly the order of the day with muscular layers of semiquavers and rapid acrobatics passed between the various configurations of soloists. These pieces are truly exhilarating to play and perform and their fresh impact never fails to hit some target or other, judging by the reaction of a live audience. Not often do you witness four violins trying to outdo each other! During Brecon Baroque’s concerts preceding the recording, the rapierlike turns in musical conversations between the four parts always seemed to lead to added expectation and excitement – all the more effective because of the contrasted moments of deep melancholy which Vivaldi some how manages to express irrespective of mode; like Schubert, a major key can be just as poignant and affecting as a minor in a conceit of sadness or loss. For example, in the slow movements of Concertos nos. 9 and 12 in D and E major respectively, there is an exquisite tenderness in his writing, something fragile, innocent and temporary; I catch myself wondering for whom these moments were created… I would like to thank all my wonderful colleagues for these many intense moments of energy, tenderness and joy while performing and recording these fantastic concertos – works which intrigued Bach and from which he mined so many of the very finest Vivaldian attributes. --Rachel Podger
Brecon Baroque:
Rachel Podger, violin/director
Bojan Čičić, violin (solo nos. 2 & 11)
Johannes Pramsohler, violin (solo nos. 5 & 8)
Sabine Stoffer, violin
Janes Rogers, viola
Ricardo Cuende Isuskiza, viola
Alison McGillivray, violoncello
Jan Spencer, violone
Daniele Caminiti, theorbo
David Miller, theorbo/guitar
Marcin Świątkiewicz, harpsichord/organ
**** Hidden Message *****
无与伦比的娱乐性
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