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艺术家：舒曼弦乐四重奏乐团
作品名称：舒伯特：《罗莎蒙德》（片段 第一部分）
发行年份：2020年
厂牌：柏林经典
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 48.0千赫兹
总时长：33分56秒
总大小：151 / 338兆字节
网站：专辑预览
曲目列表
01. 第十三弦乐四重奏，作品编号D 804 “罗莎蒙德”：第一乐章 不过分的快板
02. 第十三弦乐四重奏，作品编号D 804 “罗莎蒙德”：第二乐章 行板
03. 第十三弦乐四重奏，作品编号D 804 “罗莎蒙德”：第三乐章 小步舞曲 - 小快板 - 三声中部
04. 第十三弦乐四重奏，作品编号D 804 “罗莎蒙德”：第四乐章 中庸的快板
在发行了三张成功的概念专辑之后，舒曼弦乐四重奏乐团通过这张EP《罗莎蒙德》，将重心聚焦于作曲家弗朗茨·舒伯特。这张EP是他们专辑《片段》的首次发布，该专辑将于2020年8月14日以实体和数字形式发行。
《罗莎蒙德弦乐四重奏》与《死神与少女》一样，被视为舒伯特最杰出的弦乐四重奏作品之一。它是舒伯特生前演奏过的十五部四重奏作品中唯一一部留存下来的。
马克、埃里克和肯·舒曼三兄弟从幼年时期就开始一起演奏。2012年，来自爱沙尼亚首都塔林、在德国卡尔斯鲁厄长大的中提琴手利萨·兰达卢加入了他们。那些观看过该四重奏乐团演出的人，常常会注意到乐团成员之间紧密的联系。四位音乐家享受着无需言语的交流方式：一个眼神就足以传达出某个成员想要如何演奏某一段落。尽管每个人的个性都清晰地展现出来，但在每一部音乐作品中，通过精神层面的融合过程，都会产生一个共同的艺术空间。该四重奏乐团的开放态度和好奇心，部分可能是受到了埃伯哈德·费尔茨、阿尔班·贝尔格弦乐四重奏等老师，以及梅纳赫姆·普雷斯勒等合作伙伴的深远影响。
Artist: Schumann Quartett
Title: Schubert: Rosamunde (Fragment Pt. I)
Year Of Release: 2020
Label: Berlin Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz
Total Time: 00:33:56
Total Size: 151 / 338 mb
WebSite: Album Preview
Tracklist
01. String Quartet No. 13, D 804 "Rosamunde": I. Allegro ma non troppo
02. String Quartet No. 13, D 804 "Rosamunde": II. Andante
03. String Quartet No. 13, D 804 "Rosamunde": III. Menuetto-Allegretto-Trio
04. String Quartet No. 13, D 804 "Rosamunde": IV. Allegro moderato
With the EP "Rosamunde" the Schumann Quartet dedicates itself - after three successful concept albums - to the composer Franz Schubert. The EP is the first release of their album "Fragment", which will be released physically and digitally on August 14, 2020.
The Rosamunde String Quartet is regarded as one of the most outstanding compositions for string quartet by Schubert alongside "Death and the Maiden". It remained the only one of the fifteen quartets performed during Schubert's lifetime.
The three brothers Mark, Erik and Ken Schumann have been playing together since their earliest childhood. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany. Those who experience the quartet in performance often remark on the strong connection between its members. The four musicians enjoy the way they communicate without words: how a single look suffices to convey how a particular member wants to play a particular passage. Although the individual personalities clearly manifest themselves, a common space arises in every musical work in a process of spiritual metamorphosis. The quartet's openness and curiosity may be partly the result of the formative influence exerted on it by teachers such as Eberhard Feltz, the Alban Berg Quartet, or partners such as Menahem Pressler
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