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艺人:科德文托室内乐团、埃里克·博斯格拉夫
专辑名称:《泰勒曼:竖笛组曲与协奏曲全集》
发行年份:2016年
厂牌:辉煌古典唱片公司(Brilliant Classics)
音乐类型:古典音乐
音质:FLAC无损格式 / FLAC 24比特 - 96.0千赫兹
总时长:1小时15分44秒
总大小:408兆字节 / 1.4吉字节
网站:专辑预览
科德文托室内乐团、埃里克·博斯格拉夫 - 《泰勒曼:竖笛组曲与协奏曲全集》(2016年)[高解析度]
曲目单
01. 降E大调序曲组曲,TWV 55:eS2:第一乐章 序曲
02. 降E大调序曲组曲,TWV 55:eS2:第二乐章 小步舞曲I和II
03. 降E大调序曲组曲,TWV 55:Es2:第三乐章 萨拉班德舞曲
04. 降E大调序曲组曲,TWV 55:Es2:第四乐章 布雷舞曲(交替回声形式)
05. 降E大调序曲组曲,TWV 55:Es2:第五乐章 帕斯皮耶舞曲I和II
06. 降E大调序曲组曲,TWV 55:Es2:第六乐章 加沃特舞曲
07. 降E大调序曲组曲,TWV 55:Es2:第七乐章 吉格舞曲
08. A小调序曲组曲,TWV 55:2:第一乐章 序曲
09. A小调序曲组曲,TWV 55:2:第二乐章 欢乐曲
10. A小调序曲组曲,TWV 55:2:第三乐章 意大利风格咏叹调
11. A小调序曲组曲,TWV 55:2:第四乐章 小步舞曲I和II
12. A小调序曲组曲,TWV 55:2:第五乐章 欢庆曲
13. A小调序曲组曲,TWV 55:2:第六乐章 帕斯皮耶舞曲(I和II)
14. A小调序曲组曲,TWV 55:2:第七乐章 波兰舞曲
15. F大调竖笛协奏曲,TWV 51:1:第一乐章 深情的
16. F大调竖笛协奏曲,TWV 51:1:第二乐章 快板
17. F大调竖笛协奏曲,TWV 51:1:第三乐章 柔板
18. F大调竖笛协奏曲,TWV 51:1:第四乐章 小步舞曲I和II
19. C大调竖笛协奏曲,TWV 51:1:第一乐章 小快板
20. C大调竖笛协奏曲,TWV 51:1:第二乐章 快板
21. C大调竖笛协奏曲,TWV 51: 1:第三乐章 行板
22. C大调竖笛协奏曲,TWV 51:1:第四乐章 小步舞曲速度
泰勒曼的协奏曲将精湛的技巧、诙谐的风格和戏剧感独特地融合在一起。这位德国大师自幼自学竖笛,对竖笛有着特殊的理解和喜爱,并且为竖笛创造了一种新的混合形式——《协奏曲风格的组曲》,将独奏的展示与巴洛克舞蹈相结合。
这些组曲和协奏曲或许不像同一时期在阿尔卑斯山另一侧出现的同类型作品那样明显地炫耀技巧,但在旋律的清新度和丰富性方面,泰勒曼丝毫不逊色于他的意大利同行。这些组曲采用法国风格,是一系列宫廷舞蹈,不过A小调组曲中有一首宏伟而悲壮的“意大利风格咏叹调”,并以活泼的波兰舞曲结尾——波兰舞曲是泰勒曼最喜欢的舞蹈节奏之一——就像一位充满灵感的酒馆小提琴手那样轻快地演奏着。
埃里克·博斯格拉夫在辉煌古典唱片公司的唱片作品涵盖广泛,从维瓦尔第(BC94637——现在也有黑胶唱片版本)到布列兹(BC94842),更不用说之前的两套泰勒曼作品——独奏幻想曲(BC93757)和带通奏低音的奏鸣曲(BC95247)——以及雅各布·凡·埃克鲜为人知的佳作(BC93391)。这些唱片赢得了大众的关注和评论界的赞誉。对于博斯格拉夫自己改编且得到作曲家认可的布列兹的《双重影子对话》,《留声机》杂志评论道:“竖笛与电子音效之间的平衡把握得恰到好处,赋予了这首音乐一种直接感,同时也有着比其他任何录音版本都更亲密的氛围。”
回溯到几个世纪前竖笛在音乐中更自然的时期,朱莉·安妮·赛迪在同一本杂志上评价博斯格拉夫演奏的“无处不在的《四季》的神奇版本”时写道:“这是一个经过精心研究且令人惊叹的通透的室内乐演绎……独奏与协奏部分之间的默契简直棒极了。”
Artist: Ensemble Cordevento, Erik Bosgraaf
Title: Telemann: Complete Suites & Concertos for Recorder
Year Of Release: 2016
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 01:15:44
Total Size: 408 mb / 1.4 gb
WebSite: Album Preview
Ensemble Cordevento, Erik Bosgraaf - Telemann: Complete Suites & Concertos for Recorder (2016) [Hi-Res]
Tracklist
01. Ouverture Suite in E-Flat Major, TWV 55:eS2: I. Ouverture
02. Ouverture Suite in E-Flat Major, TWV 55:eS2: II. Menuet I & II
03. Ouverture Suite in E-Flat Major, TWV 55:Es2: III. Sarabande
04. Ouverture Suite in E-Flat Major, TWV 55:Es2: IV. Bourrée, en echo altern.
05. Ouverture Suite in E-Flat Major, TWV 55:Es2: V. Passepied I & II
06. Ouverture Suite in E-Flat Major, TWV 55:Es2: VI. Gavotte
07. Ouverture Suite in E-Flat Major, TWV 55:Es2: VII. Gigue
08. Ouverture Suite in A Minor, TWV 55:2: I. Ouverture
09. Ouverture Suite in A Minor, TWV 55:2: II. Les plaisirs
10. Ouverture Suite in A Minor, TWV 55:2: III. Air à l'Italien
11. Ouverture Suite in A Minor, TWV 55:2: IV. Menuet I & II
12. Ouverture Suite in A Minor, TWV 55:2: V. Réjouissance
13. Ouverture Suite in A Minor, TWV 55:2: VI. Passepied (I & II)
14. Ouverture Suite in A Minor, TWV 55:2: VII. Polonoise
15. Recorder Concerto in F Major, TWV 51:1: I. Affettuoso
16. Recorder Concerto in F Major, TWV 51:1: II. Allegro
17. Recorder Concerto in F Major, TWV 51:1: III. Adagio
18. Recorder Concerto in F Major, TWV 51:1: IV. Menuet I & II
19. Recorder Concerto in C Major, TWV 51:1: I. Allegretto
20. Recorder Concerto in C Major, TWV 51:1: II. Allegro
21. Recorder Concerto in C Major, TWV 51: 1: III. Andante
22. Recorder Concerto in C Major, TWV 51:1: IV. Tempo di menuet
Telemann’s concertos offer a unique combination of virtuosity, wit and sense of the theatrical. Having taught himself to play the instrument as a child, the German master had a special understanding of and fondness for the recorder, and for it he created a new hybrid form, the Suite auf Concertenart, which combines soloistic display with baroque dances.
These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic ‘Air in the Italian style’ and concludes with a snappy Polonaise – one of Telemann’s favourite dance rhythms – reeling away like an inspired tavern fiddler.
Erik Bosgraaf’s discography on Brilliant Classics ranges from Vivaldi (BC94637 – now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann – the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) – as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf’s own, composer‐approved transcription of the Dialogue de l’ombre double by Boulez, Gramophone commented that ‘balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.’
Closer to the recorder’s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf’s ‘magical version of the ubiquitous Four Seasons. ‘A carefully researched and arrestingly translucent chamber interpretation… the rapport between solo and ripieno forces is simply fabulous.’
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