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艺术家：弗雷迪·肯普夫
标题：J.S.巴赫：第4、6号 partita
发行年份：2006年
厂牌：BIS
音乐类型：古典音乐
音质：24位-44.1千赫兹FLAC/FLAC（镜像+.cue、日志、扫描件）
总时长：1小时05分54秒
总大小：595兆字节/274兆字节
网站：专辑预览
曲目列表
01-07 D大调第4号 partita，BWV 828 [32分10秒]
08-14 e小调第6号 partita，BWV 830 [33分50秒]
演奏者：
弗雷迪·肯普夫（钢琴）
弗雷迪·肯普夫是一位凭借卓越技巧与独立风格迅速崛起的钢琴新星。然而，针对其演奏的批评主要集中在“风格化处理”与“音乐性格塑造”方面，这些争议在他新录制的巴赫六首键盘partita中的两首里再次显现。
### 亮点解析
肯普夫的“飞指”技巧与整体演奏能力令人瞩目，尤其在两首partita的《吉格舞曲》中，他对动态的掌控极具说服力。其装饰音处理堪称典范——雅致得体、恰到好处，始终是对音乐表达的自然升华。例如在D大调partita的《序曲》中，他对双附点节奏的演绎庄重且富有韵律感，而《萨拉班德舞曲》则饱含深情，这种特质甚至在e小调partita异常缓慢的《阿勒曼德舞曲》中也有所体现（相较之下，罗莎琳·图雷克的同段落演绎显得节奏明快许多）。
### 争议与不足
尽管序曲中的双附点节奏处理出色，但肯普夫的演绎往往缺乏节奏感的跃动，甚至存在压平巴赫节奏的倾向。最明显的问题出现在D大调partita的《咏叹调》中：节奏模式被压缩，下行旋律线软弱无力，仿佛“泣诉”般缺乏感染力。
此外，他倾向于以“含蓄”甚至“雕琢”的方式演奏，这极大损害了音乐的性格塑造。例如在D大调partita宏伟庄严的《阿勒曼德舞曲》中，他舍弃了原有的恢弘感，代之以单薄的游移线条。其他不足包括部分乐句衔接松散、声部间对话薄弱，以及乐句棱角被磨平。
### 性格缺失与对比
最核心的问题在于演绎中“性格的匮乏”。对比其他版本——无论是古尔德的庄严精准、图雷克的深邃探究，还是鲁布萨姆的独特创意、舍普金的诗意表达，肯普夫未能鲜明呈现巴赫音乐中任何一种震撼特质：无论是冷峻、喜悦、哲思对话、神性光辉，还是戏谑或悲悯。他的演绎如同缺乏灵魂的技术展示，难以触及听众情感共鸣。
### 制作与市场考量
录音的音场表现中规中矩，既未增强也未削弱演奏的感染力。但专辑选曲策略欠佳：仅收录两首partita（恰好是六首中最长的两首），而多数现代录音会包含三首。这导致曲目容量显得单薄，对普通听众吸引力不足。
### 总结
肯普夫的这张巴赫专辑未能为keyboard partita的录音史增添新维度。若追求富有个性的演绎，古尔德、图雷克等大师的版本仍是更优选择。肯普夫的技术潜力值得肯定，但其对巴赫音乐精神内核的挖掘仍需更深层的思考与突破。
Artist: Freddy Kempf
Title: J.S. Bach: Partitas Nos. 4 & 6
Year Of Release: 2006
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (image+.cue,log,scans)
Total Time: 01:05:54
Total Size: 595 Mb / 274 Mb
WebSite: Album Preview
Tracklist:
01-07 Partita No. 4 in D major, BWV 828 [32:10]
08-14 Partita No. 6 in E minor, BWV 830 [33:50]
Performers:
Freddy Kempf (piano)
Freddy Kempf is a fast-rising young star of the piano literature known for his outstanding virtuosity and independence. Any complaints about Kempf's music-making concern the issues of mannerisms and characterization.
Unfortunately, these complaints rear their heads in Kempf's new Bach recording of two of the six keyboard partitas.
First, the good stuff. Kempf has 'flying fingers' and an overall technique that is very impressive; just listen to his dynamic accounts of the Gigues from each Partita. Also, his ornamentation is just how I like it: tasteful, judiciously employed, and always a natural enhancement to the music arguments. Kempf's double-dotted rhythmic figures, such as in the D Major Partita's Overture, are highly ceremonial with plenty of rhythmic lift. In the Sarabandes, Kempf is attractively poignant, a quality that also informs his unusually slow-paced Allemande in the E minor Partita where he makes Rosalyn Tureck sound like a speed demon in her measured performance.
The debit side is also substantial. I mentioned earlier Kempf's excellent rhythmic lift in the double-dotted Overture. Well, that's the only time that the interpretations involve a significant bounce as Kempf tends to flatten Bach's rhythms; its strongest manifestation is in the D Major's Air where the rhythmic patterns are squashed with the added disadvantage of weeping descending lines that are quite feeble and entirely uninvolved.
Another concern is that Kempf displays a penchant for playing in a demure and rather precious manner that is most damaging in the D Major's magnificent and regal Allemande where the pianist trades in majesty for flimsy meanderings. Other less than sterling qualities include some spongy articulation, weak conversation among voices and reduced bite to the phrasing.
Perhaps most problematic is a lack of character to Kempf's interpretations.
Each of the comparison versions possesses abundant character, and I don't consider it unreasonable to expect a healthy amount from Kempf. But he doesn't strongly portray any of Bach's most compelling musical traits: severity, joy, rhetoric/conversation, spirituality, foreboding, remorse, playfulness, the "Papa Bach" effect, or any other quality you would personally include. Kempf can't hold a candle to Gould's majesty and precision, Tureck's probing nature, Rubsam's unique creativity, Schepkin's poetry, or Kuschnerova's joyful declarations.
Kempf's soundstage is fine, neither enhancing nor diminishing the impact of his performances. But the program is not market-friendly with only two Partitas on the disc. Most modern-era recordings have three Bach keyboard partitas, but Kempf has picked the two longest of the six, insuring no space for another.
Don's Conclusions: Kempf's new Bach recording adds little to the discography of the keyboard partitas. Character is lacking, and there are many alternative discs that are rich in personality. My best advice is to acquire the Gould, Ture
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发表于 2025-6-11 07:46:48