[2024] 小号共鸣 Matilda Lloyd - Resonance

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碟名：小号共鸣
演奏：玛蒂尔达·洛伊德-小号、李·雷诺德斯 指挥 伦敦交响乐团
出品方：山度士（英）、上扬（代理 港）
格式：CD
类型：古典、小号协奏曲

曲目
1 Trumpet Concerto in B-Flat Major,Op.94:I.Etudes
2 Trumpet Concerto in B-Flat Major,Op.94:Il.Episodes
3 Trumpet Concerto in B-Flat Major,Op.94:Ill.Fanfares
4 Trumpet Concerto:I.Tempo I -Maestoso
5 Trumpet Concerto:Il.Molto adagio
6 Trumpet Concerto:Ill.Allegretto-Un poco meno mosso
7 14 Romances,Op.34:No.14,Vocalise (Arr.for Trumpet Orchestra by Anonymous)
8 Etude concertante in G Minor,Op.49 (Arr.for Trumpet Orchestra by Lee Reynolds)



Album review
Trumpeters may complain about the paucity of solo repertory for their instrument, but this 2024 release by the young player Matilda Lloyd shows that a bit of exploration is all that is needed to deal with the problem, and her efforts vaulted her onto classical best-seller lists in the autumn of that year. Nothing here is unique on recordings, but Lloyd puts it all together in a fresh package that will be enjoyable for anyone. Arguably the best, unless one is a fan of the straight Romantic language in the Trumpet Concerto of Christoph Schönberger, comes at the beginning with the Trumpet Concerto in B flat major, Op. 94, of Mieczyslaw Weinberg. This work should dispel any notion that Weinberg was a mere follower of Shostakovich; the two proceeded from a common language, but Weinberg, especially later in his career, developed it in fresh directions (this concerto was composed in 1967). Sample the Fanfare finale, which undercuts its own Fanfare-ness by going in a dozen directions, with an effect that ultimately becomes a bit disquieting. This work deserves more frequent hearings in concert, and the lively Lloyd, who cleanly executes the rippling appoggiatura runs in the first movement, may well be the one to provide them. The Schönberger concerto does not really break new ground but is a crowd-pleaser. Lloyd concludes with a demonstration of her cantabile (the Rachmaninov Vocalise, Op. 34, arranged for trumpet) and a virtuoso showpiece, the Etude concertante in G major, Op. 49, of Alexander Goedicke. Filling the role of encores, these are enjoyable enough, and Chandos' sound from Henry Wood Hall is idiomatic. Worth it for the Weinberg alone, this album made classical best-seller charts in late 2024.



专辑乐评
小号手们可能会抱怨适合他们乐器的独奏曲目稀少，但年轻演奏家玛蒂尔达·劳埃德在2024年发行的这张专辑表明，只要稍加探索，这个问题就能迎刃而解。她的努力让她在那年秋天登上了古典音乐畅销书排行榜。这张专辑里的曲目在录音作品中并非独一无二，但劳埃德将它们组合成了一个全新的整体，让任何人都能从中获得愉悦的听觉享受。可以说，最出色的曲目当属米哈伊尔·温伯格的降B大调小号协奏曲，作品第94号，它位于专辑开头，除非有人是克里斯托夫·舍恩贝格小号协奏曲中那种纯粹浪漫主义风格的忠实拥趸。这部作品应该能消除任何认为温伯格只是肖斯塔科维奇追随者的观念；这两位作曲家源自共同的音乐语言，但温伯格，尤其是在他职业生涯后期，以全新的方向发展了这种语言（这部协奏曲创作于1967年）。听听终乐章的那段号角声，它朝着十几个不同的方向发展，削弱了自身的号角特征，最终产生了一种略带不安的效果。这部作品理应在音乐会上得到更频繁的演奏，而充满活力的劳埃德或许正是那个能做到这一点的人，她在第一乐章中干净利落地完成了那些如涟漪般的倚音乐段。舍恩贝格的协奏曲并没有真正开辟新的领域，但却是一部深受观众喜爱的作品。劳埃德以展示她的歌唱性演奏（改编为小号演奏的拉赫玛尼诺夫《练声曲》，作品第34号）和一首技巧展示的杰作——亚历山大·戈迪克的G大调音乐会练习曲，作品第49号，作为专辑的结尾。作为返场曲目，这些作品足够令人愉悦，而且钱德斯唱片公司在亨利·伍德音乐厅录制的音效也很有特色。仅凭温伯格的这部作品，这张专辑就登上了2024年末的古典音乐畅销书排行榜，堪称物有所值。

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