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艺术家：斯特凡妮·波莱特（Stéphanie Paulet）、伊丽莎白·盖格（Elisabeth Geiger）
标题：《米诺里特修道院——手稿XIV 726（维也纳、布拉格、克罗梅日什，1700年）》
发行年份：2015年
厂牌：Muso
音乐类型：古典音乐
音质：24比特 - 96.0千赫兹FLAC格式
总时长：1小时12分31秒
总大小：1.36吉字节
网站：专辑预览
曲目单
01. 《米诺里特修道院，手稿XIV 726》：第84号，E大调奏鸣曲 & 第77号，A大调奏鸣曲
02. 《米诺里特修道院，手稿XIV 726》：第87号，F小调奏鸣曲
03. 《米诺里特修道院，手稿XIV 726》：第4号，D大调奏鸣曲
04. 《米诺里特修道院，手稿XIV 726》：第90号，A小调奏鸣曲
05. 《米诺里特修道院，手稿XIV 726》：第75号，C小调奏鸣曲
06. 《米诺里特修道院，手稿XIV 726》：第70号，B小调奏鸣曲
07. 《米诺里特修道院，手稿XIV 726》：第2号，E大调奏鸣曲
08. 《米诺里特修道院，手稿XIV 726》：第11号，E小调奏鸣曲
09. 《米诺里特修道院，手稿XIV 726》：第94号，A小调托卡塔 & 第88号，D小调奏鸣曲
斯特凡妮·波莱特、伊丽莎白·盖格——《米诺里特修道院——手稿XIV 726（维也纳、布拉格、克罗梅日什，1700年）》（2015年）[高解析度]
维也纳米诺里特修道院的手稿XIV 726多年来一直为音乐学家所熟知。它展现了17世纪晚期阿尔卑斯山以北蓬勃发展的小提琴音乐活动，而其最著名的代表人物无疑是比贝尔（Biber）。在这个关键时期，一个乐器制作流派与当地的奏鸣曲风格一同发展起来，且独立于当时意大利所发生的音乐潮流。宫廷音乐家和城市音乐家之间的对立，由于他们为职位而定期进行的竞争，引发了他们之间激烈的竞争。因此，这里演奏的奏鸣曲在当时的小提琴技巧方面非常先进；这些作品极具演奏技巧性，许多乐段被写成即兴前奏的形式。所有内容都被记录下来，但却带有即兴创作的风格。尽管这份手稿包含了大量作品，但这张唱片中只有两首奏鸣曲是用变格定弦法写成的，变格定弦法是一种典型的德国小提琴技巧，即改变小提琴原本的G、D、A、E弦的定弦方式，并且为每首奏鸣曲设定新的定弦。这可以营造出外向的风格，增强舞蹈的氛围（如法贝尔（Faber）的奏鸣曲），或者创造出更暗沉、忧郁的音色，声音带有一种朦胧感且共鸣较少，就像沃伊塔（Vojta）的作品那样。由于手稿中没有注明所需的乐器配置，因此需要一种在音色和动态方面丰富多变的通奏低音，能够从私密的氛围过渡到庄严的氛围。所使用的管风琴是管风琴制作师安德烈·西尔伯曼（André Silbermann）现存的唯一一架正立式管风琴（即放置在地面上，与阁楼中的管风琴不同），它在2011年被修复至最初的状态，拥有非凡的音色。在2012年发行了首张专注于吉耶曼（Guillemain）作品的唱片MU004之后，劳伦斯·埃奎尔贝（Laurence Equilbey）的英苏拉管弦乐团的首席小提琴手斯特凡妮·波莱特凭借这个项目大获成功，该项目揭示了17世纪晚期阿尔卑斯山以北蓬勃发展的小提琴音乐活动。在一架音色极为出色的正立式管风琴的伴奏下，她的小提琴仿佛在歌唱、跳跃，通过这张唱片美妙的听觉效果让我们为之动容，而其同样出色的录音工程更是为其增色不少。
Artist: Stéphanie Paulet, Elisabeth Geiger
Title: Minoritenkonvent - Manuscript XIV 726 (Vienna, Praha, Kroměříž, 1700)
Year Of Release: 2015
Label: Muso
Genre: Classical
Quality: flac 24bits - 96.0kHz
Total Time: 01:12:31
Total Size: 1.36 gb
WebSite: Album Preview
Tracklist
01. Minoritenkonvent, Manuscript XIV 726: No. 84, Sonata in E Major & No. 77, Sonata in A Major
02. Minoritenkonvent, Manuscript XIV 726: No. 87, Sonata in F Minor
03. Minoritenkonvent, Manuscript XIV 726: No. 4, Sonata in D Major
04. Minoritenkonvent, Manuscript XIV 726: No. 90, Sonata in A Minor
05. Minoritenkonvent, Manuscript XIV 726: No. 75, Sonata in C Minor
06. Minoritenkonvent, Manuscript XIV 726: No. 70, Sonata in B Minor
07. Minoritenkonvent, Manuscript XIV 726: No. 2, Sonata in E Major
08. Minoritenkonvent, Manuscript XIV 726: No. 11, Sonata in E Minor
09. Minoritenkonvent, Manuscript XIV 726: No. 94, Toccata in A Minor & No. 88, Sonata in D Minor
Stéphanie Paulet, Elisabeth Geiger - Minoritenkonvent - Manuscript XIV 726 (Vienna, Praha, Kroměříž, 1700) (2015) [Hi-Res]
The Manuscript XIV 726 of the Convent of the Minorites in Vienna has been known to musicologists for many years. It reveals flourishing violin activity from the late 17th century, to the North of the Alps, and its most celebrated representative was unquestionably Biber. In this crucial period, a school of instrument-making evolved with the local sonata style, independently of what was taking place in Italy. The opposition of the musicians of court and city gave rise to keen rivalry between them, on account of the regular competitions for their positions. The sonatas performed here are thus highly advanced as regards violin technique of the time; the works are virtuosic, many passages are written as improvised preludes. Everything is written down, yet in the style of an improvisation. Although the Manuscript includes a great number of them, only two sonatas on this disc are written in scordatura, a violin technique considered typically German and consisting of modifying the violin s tuning - G D A E - and proposing new tuning for each of the sonatas. This can create an extravert character and reinforce a spirit of dance (Faber s sonata), or create a darker, melancholic tone-colour, with a veiled, less resonant sound, as with Vojta. As nothing was indicated for the instrumentation it called for a continuo that was varied in regard to tone-colour and dynamics, capable of moving from the intimate to the majestic. The organ used is the only positive (i.e. placed on the floor, unlike organs in lofts) of the organ builder André Silbermann that still exists, restored in 2011 to its original condition and possessing an exceptional sound. After a first disc devoted to Guillemain, MU004, released in 2012, Stéphanie Paulet, first violin of Laurence Equilbey's Insula Orchestra scores a hit with this project that reveals the flourishing violin activity in the late 17th century to the North of the Alps. Accompanied by a positive organ of exceptional sound quality, her violin sings, leaps and makes us vibrate through the aural beauty of this disc, enhanced as it is by quite simply magnificent sound engineering.
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