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艺术家：裴吉列（Gile Bae）
作品名称：裴吉列 J.S.巴赫《哥德堡变奏曲》BWV 988
发行年份：2020年
厂牌：fonè Records
音乐类型：古典乐
音质：无损FLAC / 24位-88.2kHz FLAC+小册子
总时长：47分25秒
总大小：263兆字节 / 1.25吉字节
网站：专辑预览
曲目列表
01. 咏叹调
02. 变奏曲1
03. 变奏曲2
04. 变奏曲3 同度卡农
05. 变奏曲4
06. 变奏曲5
07. 变奏曲6 二度卡农
08. 变奏曲7 吉格舞曲速度
09. 变奏曲8
10. 变奏曲9 三度卡农
11. 变奏曲10 小赋格
12. 变奏曲11
13. 变奏曲12 四度卡农
14. 变奏曲13
15. 变奏曲14
16. 变奏曲15 五度卡农（反向进行）行板
17. 变奏曲16 序曲
18. 变奏曲17
19. 变奏曲18 六度卡农
20. 变奏曲19
21. 变奏曲20
22. 变奏曲21 七度卡农（G小调）
23. 变奏曲22 短拍舞曲
24. 变奏曲23
25. 变奏曲24 八度卡农
26. 变奏曲25 柔板（G小调）
27. 变奏曲26
28. 变奏曲27 九度卡农
29. 变奏曲28
30. 变奏曲29
31. 变奏曲30 混合曲
32. 终曲咏叹调
国际知名古典钢琴家裴吉列（Gile Bae）在fonè唱片发行的首张专辑开启了她的录音生涯。她自幼天赋异禀，曾斩获多项大奖，并在众多国际舞台上献艺，是贝森朵夫（Bösendorfer）签约艺术家。
她的首张专辑选择巴赫《哥德堡变奏曲》这一绝对杰作，于2019年11月在意大利米兰的“Ermellino大厅——音乐之家”录制。为完成这一备受瞩目的录音，fonè录音师朱利奥·切萨雷·里奇（Giulio Cesare Ricci）使用了传奇的原版 Neumann U47 和 U48 电子管麦克风，以Merging Technologies的Pyramix录音机搭配dCS模数/数模转换器，采用立体声DSD 64格式录制。整套系统完全未使用声音修饰、均衡、混响、压缩或扩展等处理，仅以自然音色与真实音质最大限度呈现Ermellino大厅的声学效果。专辑由朱利奥·切萨雷·里奇通过Signoricci系统完成母带处理。
录音成果令人惊叹。朱利奥·切萨雷·里奇希望通过此作让听众获得身临其境的体验，仿佛置身于Ermellino大厅的最佳听音位：音场具有立体感，深度、宽度与高度均令人赞叹，动态强劲且精准细腻——堪称不可错过的佳作。
费鲁乔·布索尼（Ferruccio Busoni）、格伦·古尔德（Glenn Gould）、约尔格·德穆斯（Jörg Demus）或安吉拉·休伊特（Angela Hewitt）演绎的巴赫是否“正统”？三百年前由吉安·朱塞佩·奥尔西（Gian Giuseppe Orsi）与多米尼克·布乌尔（Dominique Bouhours）引发的“古今之争”，至今仍困扰着试图“正确思考”的人（借用这两位以礼仪性鞠躬相互驳斥的伯爵与耶稣会教士之语）。诚然，每位真正的音乐家迟早需面对一个共性问题：“演奏古代音乐时，是否必须始终使用当代乐器（即与作品及作曲家同时代的乐器，或在无古董乐器时使用仿古现代乐器）？”这是一个值得深思的命题，也是每位兼具思想性的音乐家需考量的课题。
Artist: Gile Bae
Title: J. S. Bach Golberg Variations BWV 988
Year Of Release: 2020
Label: fonè Records
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
Total Time: 00:47:25
Total Size: 263 mb / 1.25 gb
WebSite: Album Preview
Tracklist
01. Aria
02. Variation 1
03. Variation 2
04. Variation 3 canone all’unisono
05. Variation 4
06. Variation 5
07. Variation 6 canone alla seconda
08. Variation 7 al tempo di giga
09. Variation 8
10. Variation 9 canone alla terza
11. Variation 10 fughetta
12. Variation 11
13. Variation 12 canone alla quarta
14. Variation 13
15. Variation 14
16. Variation 15 canone alla quinta in moto contrario Andante
17. Variation 16 ouverture
18. Variation 17
19. Variation 18 canone alla sesta
20. Variation 19
21. Variation 20
22. Variation 21 canone alla settima (G minor)
23. Variation 22 alla breve
24. Variation 23
25. Variation 24 canone all’ottava
26. Variation 25 adagio (G minor)
27. Variation 26
28. Variation 27 canone alla nona
29. Variation 28
30. Variation 29
31. Variation 30 quodlibet
32. Aria finale
Gile Bae, an internationally acclaimed classical pianist, begins her recording career with her first album on Fonè Records. Gifted from an early age, she has won numerous awards and performs on many international stages. She is a Bösendorfer Artist.
Bach’s Goldberg Variations, her first album, is an absolute masterpiece. The album was recorded in the Sala dell’ Ermellino – Casa della Musica in Milano, Italy in November 2019. For this prestigious recording, Fone’s Giulio Cesare Ricci used his legendary original Neumann U47 and U48 tube microphones. Recorded in Stereo DSD 64 with the Pyramix Recorder from Merging Technologies using the dCS A/D and D/A converters. This is a state-of-the-art recording system used without any sound manipulation, equalization, reverberation, compression, or expansion. Simply natural sound with true timbre to best enhance the acoustics of the Sala dell ‘Ermellino. The album has been mastered Giulio Cesare Ricci using the Signoricci system.
The result of this recording is fantastic. With this recording, Giulio Cesare Ricci wanted to make the listener live a unique experience. It is as if the listener was sitting on an armchair positioned in the ideal point of the Sala dell ‘Ermellino. The sound has a field effect, and its depth, width, and height are very appreciable. Great dynamics but also great precision – It’s an album not to be missed.
Is the Bach we have heard Ferruccio Busoni play on his piano legitimate? What about Glenn Gould? Or Jörg Demus? And the music that carries us away when Angela Hewitt is at the keyboard? Let’s admit it, the age-old controversy, or better, the recent reparation of the “querelle des anciens et des modernes” which was stirred up three centuries ago by the duelers Gian Giuseppe Orsi and Dominique Bouhours, has wearied to death all those who still want to “bien penser” (in the words of the above-mentioned count and the Jesuit priest, as they mauled each other with ceremonial bows). Of course: let’s be fair, credit where credit is due. Sooner or later, every true musician must deal with a collective problem. The question is: “When playing ancient music, is it a noteworthy phenomenon to always and regardless use ancient instruments, i.e. instruments which are contemporaries of the music being performed and its composer (or, in the case of a total dearth of ancient instruments, modern ones constructed in a similar manner)?” It is a noble problem and every musician who is also a thinker must take it into consideration.
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发表于 2025-5-20 07:52:16