09-伦敦巴洛克乐团 18世纪英格兰的三重奏鸣曲 (2010) Hi-Res
艺术家：伦敦巴洛克乐团
专辑名称：伦敦巴洛克乐团 18世纪英格兰的三重奏鸣曲
发行年份：2010年
厂牌：BIS
音乐类型：古典音乐
音质：24比特-44.1千赫兹FLAC（分轨）/FLAC（镜像+索引文件、日志、扫描件）
总时长：70分58秒
总大小：848/446兆字节
网站：专辑预览
曲目列表
约翰·拉文斯克罗夫特（乔瓦尼）（？-约1708）
- G大调奏鸣曲，作品1第8号
乔治·弗里德里希·亨德尔（1685-1759）
- G小调奏鸣曲，作品2第5号HWV 390
查尔斯·阿维森（1709-70）
- D小调奏鸣曲，作品1第1号
威廉·博伊斯（1711-69）
- D大调奏鸣曲，作品1第5号
托马斯·奥古斯丁·阿恩（1710-78）
- G大调奏鸣曲，作品3第2号
乔治·弗里德里希·亨德尔（1685-1759）
- D大调奏鸣曲，作品5第2号HWV 397
卡尔·弗里德里希·阿贝尔（1723-87）
- G大调奏鸣曲，作品3第1号
托马斯·厄斯金（凯利伯爵）（1732-81）
- G大调第六号奏鸣曲
演奏者：
伦敦巴洛克乐团
英格丽德·塞弗特 小提琴
理查德·吉尔 小提琴
查尔斯·梅德拉姆 大提琴
史蒂文·迪瓦恩 羽管键琴
伦敦巴洛克乐团对巴洛克三重奏鸣曲在不同时期发展及各种民族风格的探索，在此进入了 somewhat arcane 的领域，带来了这张18世纪英格兰三重奏鸣曲的专辑。至少按出版时间顺序来看，这些作品从英格兰最早的三重奏鸣曲范例之一，到羽管键琴通奏低音几乎多余的古典风格音乐。这里主要的兴趣点在于一些录音较少的作曲家：查尔斯·阿维森、威廉·博伊斯、卡尔·阿贝尔和托马斯·阿恩这些二线作曲家，以及更罕见的约翰·拉文斯克罗夫特和苏格兰第六代凯利伯爵托马斯·厄斯金。拉文斯克罗夫特是17世纪末前往意大利的英国人，可能曾向科雷利学习，其风格模仿得足以在40年后他的奏鸣曲集被当作科雷利的作品7出版。更令人惊讶的是，科雷利风格在此后很久依然存在，贯穿阿维森的D小调三重奏鸣曲作品1/1、博伊斯的D大调三重奏鸣曲作品1/5，甚至1757年托马斯·阿恩的G大调三重奏鸣曲作品3/2，尽管该作品的末乐章确实轻松了一些。阿贝尔和厄斯金的作品不仅显示出华丽风格的影响，还在迷人的旋律线与通奏低音的坚定步伐之间表现出一种不协调的张力。两首亨德尔的奏鸣曲远胜过专辑中的其他音乐，而对这些作品的演奏——听听小提琴手英格丽德·塞弗特和理查德·吉尔在对位段落中对和声锚点的有力强调——可能就值得购买这张专辑。其余作品并非令人不悦，但大多是科雷利风格，很少令人难忘。BIS的录音工程在此未达到其通常的高标准；瑞典的Länna教堂是一个冰冷、声音黯淡的环境，与这些音乐原本所针对的舒适的中产阶级环境完全不符。这张专辑当然对专家有吸引力，但对普通听众来说，不如伦敦巴洛克乐团系列中的其他专辑那么有吸引力。注释有英文、德文和法文。
Artist: London Baroque
Title: The Trio Sonata in 18th-Century England
Year Of Release: 2010
Label: BIS
Genre: Classical
Quality: FLAC (tracks) 24bit-44.1kHz / FLAC (image+.cue,log,scans)
Total Time: 70:58
Total Size: 848 / 446 Mb
WebSite: Album Preview
Tracklist:
Ravenscroft, John (Giovanni) (?–c. 1708)
- Sonata in G major, Op.1 No.8
Handel, Georg Friedrich (1685–1759)
- Sonata in G minor, Op.2 No.5 HWV 390
Avison, Charles (1709–70)
- Sonata in D minor, Op.1 No.1
Boyce, William (1711–69)
- Sonata in D major, Op.1 No.5
Arne, Thomas Augustine (1710–78)
- Sonata in G major, Op.3 No.2
Handel, Georg Friedrich (1685–1759)
- Sonata in D major, Op.5 No.2 HWV 397
Abel, Karl Friedrich (1723–87)
- Sonata in G major, Op.3 No.1
Erskine, Thomas (Earl of Kelly) (1732–81)
- Sonata VI in G major
Performers:
London Baroque
Ingrid Seifert violin
Richard Gwilt violin
Charles Medlam violoncello
Steven Devine harpsichord
The London Baroque's traversal of the Baroque trio sonata across its various developments over time and into diverse national styles enters somewhat arcane territory here with a program of English trio sonatas of the 18th century. The program is chronological, at least by publication (the Op. 5 set of trio sonatas by Handel, though published in 1759, was assembled from earlier music from a variety of genres), and the pieces represented run from one of the first English examples of the trio sonata to Classical-style music in which the harpsichord continuo is almost superfluous. The chief point of interest here is the presence of some little-recorded composers: the second tier of Charles Avison, William Boyce, Carl Abel, and Thomas Arne, and the still rarer John Ravenscroft and Thomas Erskine, the sixth Earl of Kelly in Scotland. Ravenscroft was an Englishman who traveled to Italy at the end of the 17th century, probably studied with Corelli, and produced a facsimile of his style competent enough that 40 years later a collection of his sonatas was published as Corelli's Opus 7. What is more surprising is to hear the Corelli style persist long after that, through Avison's Trio Sonata in D minor, Op. 1/1, Boyce's Trio Sonata in D major, Op. 1/5, and even Thomas Arne's Trio Sonata in G major, Op. 3/2, of 1757, although the last movement of that work does lighten up a bit. The Abel and Erskine pieces not only show the influence of the galant style but display an uneasy tension between the fetching melodic lines and the implacable footsteps of the continuo. The two Handel sonatas far outclass the rest of the music on the album, and the performances of these -- hear violinists Ingrid Seifert and Richard Gwilt as they give slashing emphasis to the harmonic anchor points of the contrapuntal passages -- may be worth the price of admission. The rest offers not unpleasant but rarely memorable music, mostly in the Corelli style. BIS' engineering is not up to its usual high standard here; Sweden's Länna Church is a chilly, washed-out sound environment completely at odds with the upholstered middle-class surroundings for which the music was intended. Certainly of interest to specialists, but less so than other discs in the London Baroque series for general listeners. Notes are in English, German, and French.
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