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艺术家：法布里斯・费雷兹
标题：泰勒曼：双簧管独奏幻想曲与卡农
发行年份：2020 年
厂牌：VDE-GALLO
音乐类型：古典
音质：无损 FLAC / 24 位 - 88.2kHz FLAC
总时长：00:54:39
总大小：238 兆字节 / 886 兆字节
网站：专辑预览
曲目列表
01. G 大调第 11 号幻想曲，TWV 40:12：I. 快板
02. G 大调第 11 号幻想曲，TWV 40:12：II. 柔板 - 活泼的
03. G 大调第 11 号幻想曲，TWV 40:12：III. 快板
04. a 小调第 6 号卡农奏鸣曲，TWV 40:123：I. 活泼的
05. a 小调第 6 号卡农奏鸣曲，TWV 40:123：II. 柔和的
06. a 小调第 6 号卡农奏鸣曲，TWV 40:123：III. 很快的快板
07. d 小调第 6 号幻想曲，TWV 40:7：I. 甜美的
08. d 小调第 6 号幻想曲，TWV 40:7：II. 快板
09. d 小调第 6 号幻想曲，TWV 40:7：III. 精神饱满的
10. A 大调第 1 号幻想曲，TWV 40:2：I. 活泼的
11. A 大调第 1 号幻想曲，TWV 40:2：II. 快板
12. a 小调第 2 号幻想曲，TWV 40:3：I. 庄板
13. a 小调第 2 号幻想曲，TWV 40:3：II. 活泼的
14. a 小调第 2 号幻想曲，TWV 40;3：III. 柔板
15. a 小调第 2 号幻想曲，TWV 40:3：IV. 快板
16. G 大调第 1 号卡农奏鸣曲，TWV 40:118：I. 活泼的
17. G 大调第 1 号卡农奏鸣曲，TWV 40:118：II. 柔板
18. G 大调第 1 号卡农奏鸣曲，TWV 40:118：III. 快板
19. e 小调第 8 号幻想曲，TWV 40:9：I. 广板
20. e 小调第 8 号幻想曲，TWV 40:9：II. 精神饱满的
21. e 小调第 8 号幻想曲，TWV 40:9：III. 快板
22. d 小调第 2 号 partita，BWV 1004：I. 阿勒曼德舞曲
23. d 小调第 2 号 partita，BWV 1004：IV. 吉格舞曲
24. 降 B 大调第 4 号幻想曲，TWV 40:5：I. 行板
25. 降 B 大调第 4 号幻想曲，TWV 40:5：II. 快板
26. 降 B 大调第 4 号幻想曲，TWV 40:5：III. 急板
27. 降 E 大调第 2 号长笛二重奏，F. 55：I. 快板
28. a 小调第 6 号卡农奏鸣曲，TWV 40:123：I. 活泼的（伴奏）
29. a 小调第 6 号卡农奏鸣曲，TWV 40:123：II. 柔和的（伴奏）
30. a 小调第 6 号卡农奏鸣曲，TWV 40:123：III. 很快的快板（伴奏）
31. G 大调第 1 号卡农奏鸣曲，TWV 40:118：I. 活泼的（伴奏）
32. G 大调第 1 号卡农奏鸣曲，TWV 40:118：II. 柔板（伴奏）
33. G 大调第 1 号卡农奏鸣曲，TWV 40:118：III. 快板（伴奏）
法布里斯・费雷兹 - 泰勒曼：双簧管独奏幻想曲与卡农（2020）[高解析度]
泰勒曼的想象力之力：《十二首长笛独奏幻想曲》系列虽置身于泰勒曼数百部清唱剧、数十部受难曲或歌剧之中，却在其庞大作品中占据独特地位。首先，这是少数几部由泰勒曼本人于 1732 年在汉堡亲自镌刻并出版的作品之一。
这套作品亦堪称里程碑 —— 它是首部为木管乐器创作的幻想曲系列。幻想曲这一与即兴演奏紧密相连的体裁，本质上曾专为键盘乐器而设，因当时作曲家们通常首选键盘乐器表达创意。狄德罗的《百科全书》甚至将幻想曲定义为 “边创作边演奏的器乐作品”。
这十二首幻想曲堪称泰勒曼创造力的真实展现，亦反驳了 “他仅是早熟、天赋异禀却循规蹈矩的多产作曲家” 这一固有印象。它们有时仅用寥寥音符，便勾勒出鲜明的音乐世界，以惊人的对比与幽默感，带领听众从最深的忧郁跃至最炽的喜悦。
若将其比作绘画，它们恰似大师的速写 —— 有时速写中蕴含的情感，比完成的画作更为浓烈。
虚荣啊，皆是虚荣：法国双簧管大师弗朗索瓦・拉里奇（1662-1733）曾以演奏为德累斯顿管弦乐团增光，泰勒曼在柏林听他演奏博农奇尼的歌剧《波吕斐摩斯》时，或许曾设想他演奏这些幻想曲的情景。这些作品原是为横笛而作，而横笛正是因拉里奇的同僚米歇尔・布拉韦（1700-1768）与约翰・约阿希姆・匡茨（1697-1773）而崭露头角。深谙双簧管魅力的泰勒曼，必然会被 “将幻想曲改编给双簧管” 的想法吸引 —— 毕竟在他数百首管弦乐序曲中，双簧管早已是 “法式音乐之王”。
近几十年来，尤其从海因茨・霍利格（1939 年生）成名起，当代双簧管演奏家便将《十二首幻想曲》纳入巴洛克独奏曲目，视为与二十世纪作品比肩的重要篇章。演奏这些作品亦是一场孤独的沉思，一次与自我的对话。在第二、第六或第八首幻想曲开篇的小调段落中，这种对话如同十七世纪画家笔下的 “虚空派” 静物画，提醒着人们：“尘世的荣耀皆如过眼云烟。”
Artist: Fabrice Ferez
Title: Telemann: Fantasia & Canon for Oboe Solo
Year Of Release: 2020
Label: VDE-GALLO
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz
Total Time: 00:54:39
Total Size: 238 / 886 mb
WebSite: Album Preview
Tracklist
01. Fantasia No. 11 in G Major, TWV 40:12: I. Allegro
02. Fantasia No. 11 in G Major, TWV 40:12: II. Adagio-Vivace
03. Fantasia No. 11 in G Major, TWV 40:12: III. Allegro
04. Canonic Sonata No. 6 in A Minor, TWV 40:123: I. Vivace
05. Canonic Sonata No. 6 in A Minor, TWV 40:123: II. Soave
06. Canonic Sonata No. 6 in A Minor, TWV 40:123: III. Allegro assai
07. Fantasia No. 6 in D Minor, TWV 40:7: I. Dolce
08. Fantasia No. 6 in D Minor, TWV 40:7: II. Allegro
09. Fantasia No. 6 in D Minor, TWV 40:7: III. Spirituoso
10. Fantasia No. 1 in A Major, TWV 40:2: I. Vivace
11. Fantasia No. 1 in A Major, TWV 40:2: II. Allegro
12. Fantasia No. 2 in A Minor, TWV 40:3: I. Grave
13. Fantasia No. 2 in A Minor, TWV 40:3: II. Vivace
14. Fantasia No. 2 in A Minor, TWV 40;3: III. Adagio
15. Fantasia No. 2 in A Minor, TWV 40:3: IV. Allegro
16. Canonic Sonata No. 1 in G Major, TWV 40:118: I. Vivace
17. Canonic Sonata No. 1 in G Major, TWV 40:118: II. Adagio
18. Canonic Sonata No. 1 in G Major, TWV 40:118: III. Allegro
19. Fantasia No. 8 in E Minor, TWV 40:9: I. Largo
20. Fantasia No. 8 in E Minor, TWV 40:9: II. Spirituoso
21. Fantasia No. 8 in E Minor, TWV 40:9: III. Allegro
22. Partita No. 2 in D Minor, BWV 1004: I. Allemande
23. Partita No. 2 in D Minor, BWV 1004: IV. Gigue
24. Fantasia No. 4 in B-Flat Major, TWV 40:5: I. Andante
25. Fantasia No. 4 in B-Flat Major, TWV 40:5: II. Allegro
26. Fantasia No. 4 in B-Flat Major, TWV 40:5: III. Presto
27. Flute Duet No. 2 in E-Flat Major, F. 55: I. Allegro
28. Canonic Sonata No. 6 in A Minor, TWV 40:123: I. Vivace (Accompaniment)
29. Canonic Sonata No. 6 in A Minor, TWV 40:123: II. Soave (Accompaniment)
30. Canonic Sonata No. 6 in A Minor, TWV 40:123: III. Allegro assai (Accompaniment)
31. Canonic Sonata No. 1 in G Major, TWV 40:118: I. Vivace (Accompaniment)
32. Canonic Sonata No. 1 in G Major, TWV 40:118: II. Adagio (Accompaniment)
33. Canonic Sonata No. 1 in G Major, TWV 40:118: III. Allegro (Accompaniment)
Fabrice Ferez - Telemann: Fantasia & Canon for Oboe Solo (2020) [Hi-Res]
Telemann, the power of imagination: The cycle of the Twelve fantasias for flute solo, though surrounded by hundreds of oratorios, dozens of passions or operas, holds a singular place in Telemann’s huge work. First of all, it is one of the few rare opuses were engraving and publication was carried out by Telemann himself, in Hamburg, in 1732.
It is also remarkable as the first series of fantasias composed for a wind instrument. This genre, so closely linked to improvisation, was by its very nature intended for keyboard instruments, which were the natural choice of the creators of the time. Diderot’s Encyclopédie actually defines a fantasia as ‘An instrumental work composed as it is performed.’
These Twelve fantasias are a true demonstration of Telemann’s capacity for invention and thus contradict the vision that would make him a composer who was certainly precocious, gifted and prolific but above all routine and conventional. They vividly sketch out, sometimes in a few notes, musical worlds that take us from the most melancholy to the most joyful exaltation with an astonishing sense of contrast and humour.
One could compare them to the works of the great painters, who sometimes say more in their sketches than in their finished artworks.
Vanitas, Vanitatum: François La Riche (1662-1733), the great French oboist whose playing brought glory to the Dresden orchestra and whom Telemann heard in Berlin in Bononcini’s opera Polyphema, may have dreamed of playing these fantasias. They were originally written for the transverse flute, an instrument brought to the fore by La Riche’s fellow musicians Michel Blavet (1700-1768) and Johann Joachim Quantz (1697-1773). Telemann who gave so much to the oboe would certainly have been seduced by this idea. This instrument was so familiar to him, as the king of French music in his hundreds of orchestral ouvertures.
Over the past few decades and particularly from the moment Heinz Holliger (born in 1939) became well-known, contemporary oboists have adopted the Twelve fantasias for themselves as an interesting repertoire for solo instrument of the Baroque period and a suitable counterpart for the repertoire of the twentieth century. Performing them also provides the chance for solitary reflection, an opportunity to encounter oneself. In the opening minor key pages of the second, sixth or eight fantasias this encounter reminds him, like the still lives of the 17th century painters of vanity that ‘thus passes the glory of the world.’
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