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[color=var(--gray-text-color)]The 2004 edition of the ARD International Competition in Munich saw the paths of violist Antoine Tamestit and members of the Ebène Quartet cross. A meeting of champions on a day to remember, with these artists taking first place in their respective categories. Their collaborations have multiplied over the years, finally converging on a first joint recording entitled Round Midnight, which ended with a sumptuous rendition of Schoeberg’s Transfigured Night.
[color=var(--gray-text-color)]But in this case the new ensemble is committed to the genius of Mozart, through his Quintet No. 3 K.515 and No. 4 K.516. In the first, the group explores the highly contrasting moods in Mozart's writing, alternating between the abundant energy of the first and fourth movements, and the melancholic lethargy of the second and third. A roller coaster of emotions, guided by clever playing and a lovely, enveloping tonality. On the other hand, Quartet K.516 has darker colours, the key of G minor in Mozart's work often being associated with distress and sorrow. It took on a particular meaning in 1787, at a time when the composer was worried about his father's health. The Ebène quartet and Tamestit draw a striking chiaroscuro from the score, magnified by intelligent choices with regards to the tempi, leaving room for perfect spaces that allow the piece to breathe. © Pierre Lamy/Qobuz 2004年在慕尼黑举行的 ARD 国际比赛上，中提琴手 Antoine Tamestit 和 Ebene 四重奏的成员们走上了不同的道路。这是值得纪念的一天，冠军们聚集在一起，这些艺术家在各自的组别中获得了第一名。多年来，他们的合作成倍增加，最终汇聚在一个名为圆午夜的第一个联合录音，其中结束了舒伯格的变形之夜的华丽表演。但在这种情况下，新的合奏致力于莫扎特的天才，通过他的五重奏第3 K. 515和第4 K. 516号。在第一部分中，乐团探讨了莫扎特作品中强烈对比的情绪，在第一和第四乐章充沛的能量和第二和第三乐章忧郁的无精打采之间交替变换。情绪的过山车，由巧妙的演奏和可爱的包围音调引导。另一方面，K.516四重奏有较深的颜色，莫扎特作品中 G 小调的调子经常与痛苦和悲伤联系在一起。在1787年，当作曲家担心他父亲的健康时，它有了特殊的意义。Ebene 四重奏和 Tamestit 从乐谱中画出了明显的明暗对比，在节奏方面的明智选择放大了这种对比，为完美的空间留下了空间，使作品得以呼吸。
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发表于 2023-9-23 15:11:56
