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艺人：克里斯蒂安·费拉斯、保罗·托特里耶、爱乐乐团、保罗·克莱茨基
专辑名称：《勃拉姆斯：A小调小提琴与大提琴双重协奏曲，作品102号 - 贝多芬：D大调第一小提琴奏鸣曲，作品12号，第1首（重新灌录版）》
发行年份：1963年
厂牌：华纳古典唱片公司（Warner Classics）
音乐类型：古典音乐
音质：24比特 - 96千赫兹 FLAC（分轨）
总时长：53分20秒
总大小：1.08吉字节
网站：专辑预览
曲目单
01. 勃拉姆斯：A小调小提琴与大提琴双重协奏曲，作品102号：第一乐章 快板（16分50秒）
02. 勃拉姆斯：A小调小提琴与大提琴双重协奏曲，作品102号：第二乐章 行板（8分36秒）
03. 勃拉姆斯：A小调小提琴与大提琴双重协奏曲，作品102号：第三乐章 不过分活泼的快板 - 稍慢的快板（8分29秒）
04. 贝多芬：D大调第一小提琴奏鸣曲，作品12号，第1首：第一乐章 有活力的快板（6分44秒）
05. 贝多芬：D大调第一小提琴奏鸣曲，作品12号，第1首：第二乐章 主题与变奏曲。有动感的行板（8分11秒）
06. 贝多芬：D大调第一小提琴奏鸣曲，作品12号，第1首：第三乐章 回旋曲。快板（4分33秒）
小提琴家克里斯蒂安·费拉斯的录音展现出一种奇特的风格二元性：一方面，他的音色紧绷，略带刺耳的铜管音色，颤音有些烦人且突兀（尤其在他后期的一些作品中更为明显）；另一方面，则是更温暖、更传统的浪漫主义演绎方式，带有明显的滑音和节奏伸缩处理。在一定程度上，时间顺序起到了作用——1960年之前的录音倾向于后一种风格——但这种划分并非绝对清晰。也许费拉斯有意识地开始对古典作品采用现代主义风格，以跟上当时的潮流（这或许可以解释为什么他1964年录制的西贝柳斯协奏曲与1951年录制的贝多芬协奏曲有着共同的风格特征）；但无论如何，对费拉斯全部唱片作品的详细研究，会让我们对二战后经典曲目的风格变化有深刻且有趣的认识。费拉斯与抑郁症的斗争——这不幸地导致他在49岁时自杀——也可能是他诠释风格多变的一个因素。
他最初跟父亲学习小提琴，父亲是马塞尔·沙耶的学生，这使他在尼斯和巴黎音乐学院取得了巨大的成功。13岁时，费拉斯以双料一等奖的成绩毕业，随后在帕德卢普管弦乐团积累了表演经验。在职业生涯早期，他还得益于乔治·埃内斯库的指导。在20世纪40年代末和50年代初，他进行了大量重要的演出，赢得了国际奖项并进行了世界首演，与许多杰出的音乐家合作，其中包括钢琴家皮埃尔·巴比泽，在数年时间里，巴比泽都是他著名的二重奏搭档。
作为一名演奏家（和他的大多数同行一样），费拉斯在演奏时很少根据作品的创作时期而在风格上做出让步。1958年，他与梅纽因一起录制了巴赫的双小提琴协奏曲，呈现出一种音色厚重的风格，不太注重小规模的乐句处理，在连奏段落中有一种特定的音调起伏（即所谓的“梅纽因连奏”）。费拉斯的音色比梅纽因柔和的音色更明亮，但两位独奏者在其他方面旗鼓相当。他1951年录制的贝多芬协奏曲也采用了浪漫主义的演绎方式，带有典型的温暖和厚重感，并且对指法进行了大量修改，这些指法似乎源自约阿希姆。1959年，他演奏的布鲁赫第一协奏曲和拉罗的《西班牙交响曲》，颤音速度极快且强烈，在今天听起来有些奇特，但这两部作品的演绎都富有变化，因此充满人性，布鲁赫的协奏曲因连贯的慢板乐章和充满激情的终曲而生动起来，终曲开头精准、激昂的双音演奏更是令人赞叹。从这两张唱片的二手黑胶唱片价格就可以看出它们的知名度，如今售价高达数百英镑。
尽管费拉斯的大量唱片作品主要是具有开创性的浪漫主义作品，但他尤其以多次演奏贝尔格的小提琴协奏曲而闻名，他在1957年与欧内斯特·安塞美合作录制了这部作品。从很多方面来看，这是对一部通常以坚定、近乎机械的强度演奏的作品的奇特诠释；在这里，费拉斯不同寻常地强调小规模的乐句处理，尽管录音的音色有些暗淡，但有一种微微停顿和脆弱的特质，使其在情感上极具吸引力。
费拉斯还录制了标准的二重奏奏鸣曲曲目，包括与他信任的搭档皮埃尔·巴比泽合作录制的略显生硬的贝多芬《春天》奏鸣曲。1958年的这次录制，让我们得以一窥当时的风格和品味。明显的重音和节奏的规律性，以及相当干涩、直接的录音音质立刻就能感受到，但这部作品在这种客观的处理下依然表现出色，费拉斯的演奏技巧也令人钦佩。
虽然他的一些演奏风格需要慢慢品味，而且他的演绎风格有时具有两面性，令人困惑，但费拉斯所有的演奏都具有一种直接性和真诚性，这使它们具有重要的历史价值。
数字重新灌录
Artist: Christian Ferras, Paul Tortelier, Philharmonia Orchestra & Paul Kletzki
Title: Brahms: Double Concerto, Op. 102 - Beethoven: Violin Sonata, Op. 12 No. 1 (Remastered)
Year Of Release: 1963
Label: Warner Classics
Genre: Classical
Quality: 24bit-96kHz FLAC (tracks)
Total Time: 53:20
Total Size: 1.08 GB
WebSite: Album Preview
Tracklist:
01. Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: I. Allegro (16:50)
02. Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: II. Andante (8:36)
03. Brahms: Double Concerto for Violin and Cello in A Minor, Op. 102: III. Vivace non troppo - Poco meno allegro (8:29)
04. Beethoven: Violin Sonata No. 1 in D Major, Op. 12 No. 1: I. Allegro con brio (6:44)
05. Beethoven: Violin Sonata No. 1 in D Major, Op. 12 No. 1: II. Tema con variazioni. Andante con moto (8:11)
06. Beethoven: Violin Sonata No. 1 in D Major, Op. 12 No. 1: III. Rondo. Allegro (4:33)
The recordings of violinist Christian Ferras demonstrate a curious duality of style: on the one hand a tightly wound, somewhat harsh, brassy sound with nagging and intrusive vibrato (found particularly in some of his later work); on the other, a warmer, more old-fashioned, Romantic approach, with conspicuous portamenti and tempo rubato. To some extent, chronology plays a part—recordings before 1960 tend towards the latter style—but this is not clear-cut. It may be that Ferras consciously began to impose a modernist style on Classical works in keeping with current trends (which would explain why his 1964 Sibelius Concerto has stylistic traits in common with his 1951 Beethoven); but however this may be, a detailed study of Ferras’s whole discography would give fascinating insights into post-war stylistic change in established repertoire. Ferras’s struggle with depression that, tragically, led to his suicide at the age of forty nine, may also be a factor in his changeable interpretative approach.
His first violin lessons were with his father, a pupil of Marcel Chailley, and led to prodigious success at the Nice and Paris Conservatoires. After graduating with a double premier prix aged thirteen, Ferras gained performing experience with the Pasdeloup Orchestra. He also benefitted from George Enescu’s mentoring through his early career. During the late 1940s and early 1950s he undertook an overwhelming number of prominent appearances, won international prizes and gave world premières, working with many illustrious musicians including pianist Pierre Barbizet, his famous duo partner for some years.
A performer who (like most of his peers) made few stylistic concessions to compositional period, Ferras recorded Bach’s Double Violin Concerto with Menuhin in 1958 in a tonally-heavy mould with little attention to small-scale phrasing and a certain undulation of tone in slurred passages (the so-called ‘Menuhin slur’). Ferras’s sound is brighter than Menuhin’s muted tones, but the two soloists are otherwise equally matched. His 1951 Beethoven Concerto is also Romantically delivered with a characteristic warmth and heaviness, and a much-modified use of fingerings that seem to originate with Joachim. The 1959 performances of Bruch’s Concerto No. 1 and Lalo’s Symphonie Espagnole display an extraordinarily fast, intense vibrato which sounds curious today, but both have variability and therefore humanity in their rendition and the Bruch is brought alive by a well-connected slow movement and a fiery finale with perfectly accurate, explosive double-stopping at the start. The renown of these two recordings is apparent in the price of second-hand copies on LP, selling today for hundreds of pounds.
Although Ferras’s large discography is mainly of seminal Romantic works, he became particularly known for his numerous performances of Berg’s Violin Concerto, which he recorded with Ernest Ansermet in 1957. This is a curious reading, in many ways, of a work that is often played with a steely certainty and almost mechanistic intensity; here Ferras unusually stresses smaller-scale phrasing and, though the recorded sound is rather dim, there is a slightly halting and vulnerable quality which makes it an emotionally enticing prospect.
Ferras also recorded from the standard duo sonata repertoire, including a slightly brusque Beethoven ‘Spring’ Sonata with his trusted partner Pierre Barbizet. This, in 1958, is a fascinating glimpse into the style and taste of the time. Regularity of accentuation and tempo, and a rather dry and immediate recording quality are immediately apparent, but the work survives the objective treatment well and Ferras’s discipline is admirable.
Whilst some of his playing is an acquired taste, and the double-sided nature of his interpretations at times rather perplexing, there is a directness and sincerity to all Ferras’s performances which make them historically valuable.
Digitally remastered
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发表于 2025-3-22 08:22:34