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艺术家：丹尼尔·霍普
标题：施尼特凯：小提琴与钢琴作品
发行年份：2021年
厂牌：德意志留声机（DG）
类型：古典音乐
音质：FLAC（分轨）/24位-96千赫兹FLAC（含小册子）
总时长：59分03秒
总大小：250兆字节/1.06吉字节
网站：专辑预览
曲目列表
1. 《古风格组曲》：I. 田园曲（2分59秒）
2. 《古风格组曲》：II. 芭蕾舞曲（2分15秒）
3. 《古风格组曲》：III. 小步舞曲（3分07秒）
4. 《古风格组曲》：IV. 赋格（2分40秒）
5. 《古风格组曲》：V. 哑剧（4分05秒）
6. 波尔卡（1分47秒）
7. 探戈（安德烈·拉赫曼宁改编为小提琴与钢琴版，选自《痛苦》）（3:01）
8. 第一奏鸣曲：I. 行板（2分47秒）
9. 第一奏鸣曲：II. 小快板（4分56秒）
10. 第一奏鸣曲：III. 广板（5分17秒）
11. 第一奏鸣曲：IV. 诙谐的小快板（4分53秒）
12. 《纪念奥列格·卡冈的牧歌》（9分13秒）
13. 《祝贺回旋曲》（7分24秒）
14. 《寂静的夜》（4分47秒）
丹尼尔·霍普在青少年时期便被阿尔弗雷德·施尼特凯的多元风格音乐所吸引。20世纪90年代初，他通过一系列会面与交谈结识了这位苏联时期的俄罗斯作曲家。如今，这种深厚且持久的关系在这场与同为施尼特凯权威诠释者的阿列克谢·博特维诺夫的独奏会中体现得淋漓尽致。
施尼特凯为小提琴创作的多面性作品充满了需要细腻挖掘的情感微妙之处。例如，1974年的《祝贺回旋曲》表面上是一首甜美雅致的巴洛克风格模仿曲，但在表面之下，施尼特凯呈现的是“化妆的尸体”——其隐晦程度甚至让肖斯塔科维奇的讽刺谐谑曲相比之下都显得直白粗率。霍普与博特维诺夫捕捉这两种元素的细腻程度几乎堪称超凡：当霍普的音色在强音爆发中摩擦出刺耳声响时，回旋曲的阴暗面最为明显，而其余部分也隐约透露出机械的虚伪感。
这种微妙甚至需要先仔细聆听他们对两年前另一首巴洛克模仿曲《古风格组曲》的演绎——施尼特凯称其“一度以完全天真的方式创作”。然而，最具冲击力的是他们在《寂静的夜》中捕捉到的“被玷污的纯净”与“阴森蔓延的腐朽”。这首1978年的作品冷酷地揭示了苏联政权的官方宣传与日常生活残酷现实之间的鸿沟：霍普在博特维诺夫 bleak 的钟声背景下，以低沉的汽笛般滑音收尾，诡异至极。此外，他们为1963年《第一小提琴奏鸣曲》广板乐章带来的迷人张力同样震撼——小提琴声部如同一缕不断延展的长线，色彩持续演变，而霍普甜美音色的感染力更强化了这一切。
无论从纸面概念上你是否对施尼特凯的独奏会感兴趣，这张专辑都值得一听。
Artist: Daniel Hope
Title: Schnittke: Works for Violin and Piano
Year Of Release: 2021
Label: Deutsche Grammophon (DG)
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 59:03
Total Size: 250 MB / 1.06 GB
WebSite: Album Preview
Tracklist:
1. Suite in the Old Style : I. Pastorale (2:59)
2. Suite in the Old Style : II. Ballet (2:15)
3. Suite in the Old Style : III. Minuet (3:07)
4. Suite in the Old Style : IV. Fugue (2:40)
5. Suite in the Old Style : V. Pantomime (4:05)
6. Polka (1:47)
7. Tango (Arr. by Andriy Rakhmanin for Violin and Piano) (From "Agony") (3:01)
8. Sonata No. 1 : I. Andante (2:47)
9. Sonata No. 1 : II. Allegretto (4:56)
10. Sonata No. 1 : III. Largo (5:17)
11. Sonata No. 1 : IV. Allegretto scherzando (4:53)
12. Madrigal in Memoriam Oleg Kagan (9:13)
13. Gratulationsrondo (7:24)
14. Stille Nacht (4:47)
Daniel Hope first fell for the polystylistic music of Alfred Schnittke as a teenager. Then, in the early 1990s, he got to know the Russian Soviet-era composer personally, over a series of meetings and conversations. Now that deep and long-standing relationship is palpable across every second of this recital with fellow acclaimed Schnittke interpreter, Alexey Botvinov.
Schnittke's multi-faceted oeuvre for violin is full of emotional subtleties to tease out, too. For instance, the Congratulatory Rondo of 1974 is on the face of it a sweetly dainty Baroque pastiche, but lurking below the surface Schnittke is giving us “corpses wearing make-up” – just so subtly that Shostakovich's ironic scherzos sound bombastically crass by comparison. The degree of fine nuance with which Hope and Botvinov capture both elements is almost superhuman, because while the Rondo's darker side is at its most obvious as Hope's tone scratches and scrapes through the fortissimo outburst, there's also a hint of mechanical disingenuousness across the rest.
Just so barely perceptible that in order to hear it you may even have to first listen closely to their reading of the other Baroque pastiche written two years earlier, the Suite in the Old Style which Schnittke wrote “once to write completely naively”. Most powerful of all, though, is the impression of corrupted purity and sinisterly advancing decay that the pair have captured in Stille Nacht, Schnittke's chilling 1978 illustration of the gulf between the official propaganda of the Soviet regime, and the grim reality of daily life. Hope's low, concluding siren wail glissandi off the back of Botvinov's bleak bell tolls are eerie in the extreme. Then there's the spellbinding intensity they bring to the Largo of the First Violin Sonata of 1963, its violin part unfurling as one long, constantly extending line of constant colouristic development, and the whole rendered all the more affecting by Hope's capacity for sweetness of tone.
Whether the idea of a Schnittke recital appeals to you on paper or not, this is a must-listen.
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