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艺术家：塞巴斯蒂安·曼茨（Sebastian Manz）、丹麦弦乐四重奏（The Danish String Quartet）
作品名称：《富克斯与勃拉姆斯：单簧管五重奏》
发行年份：2014年
厂牌：CAvi音乐（CAvi-music）
音乐类型：古典音乐
音质：FLAC无损格式
总时长：01:11:54
总大小：312兆字节
网站：专辑预览
曲目列表
01. 降E大调单簧管、两把小提琴、中提琴与大提琴五重奏，作品102号（罗伯特·富克斯（Robert Fuchs））：第一乐章 非常中板的快板
02. 降E大调单簧管、两把小提琴、中提琴与大提琴五重奏，作品102号（罗伯特·富克斯（Robert Fuchs））：第二乐章 诙谐的快板
03. 降E大调单簧管、两把小提琴、中提琴与大提琴五重奏，作品102号（罗伯特·富克斯（Robert Fuchs））：第三乐章 绵延的行板
04. 降E大调单簧管、两把小提琴、中提琴与大提琴五重奏，作品102号（罗伯特·富克斯（Robert Fuchs））：第四乐章 优美的小快板
05. B小调单簧管、两把小提琴、中提琴与大提琴五重奏，作品115号（约翰内斯·勃拉姆斯（Johannes Brahms））：第一乐章 快板
06. B小调单簧管、两把小提琴、中提琴与大提琴五重奏，作品115号（约翰内斯·勃拉姆斯（Johannes Brahms））：第二乐章 柔板
07. B小调单簧管、两把小提琴、中提琴与大提琴五重奏，作品115号（约翰内斯·勃拉姆斯（Johannes Brahms））：第三乐章 小行板
08. B小调单簧管、两把小提琴、中提琴与大提琴五重奏，作品115号（约翰内斯·勃拉姆斯（Johannes Brahms））：第四乐章 有动感的
塞巴斯蒂安·曼茨、丹麦弦乐四重奏 - 《富克斯与勃拉姆斯：单簧管五重奏》（2014年）
1895年10月15日，小约翰·施特劳斯庆祝了自己表演生涯的50周年纪念。最早到场向这位 “圆舞曲之王” 表达敬意的嘉宾之一，是他的一位忠实仰慕者——约翰内斯·勃拉姆斯。勃拉姆斯前来也许不只是为了向这位同行作曲家表示祝贺，他肯定也很想听听一首专门为这个场合创作的作品：罗伯特·富克斯的《第五号小夜曲》，这是一部诙谐、欢快的作品，其中包含了一些小约翰·施特劳斯的轻歌剧《蝙蝠》中的旋律片段。
富克斯很早就引起了勃拉姆斯的注意。勃拉姆斯曾称赞他是 “一位出色的音乐家：一切都那么精妙、技艺娴熟，构思又如此迷人！” 但勃拉姆斯也清楚他这位年轻同事的不足之处。正如同时代的其他人所评价的那样，富克斯的音乐悦耳动听，但常常缺乏戏剧性效果。富克斯于1847年出生，是施蒂利亚州一位乡村教师十三个孩子中最小的一个。1874年，他的《第一号管弦乐小夜曲》一经问世便大获成功，从那以后，大家都称他为 “小夜曲狐狸”，这甚至在一定程度上影响了他一生的声誉。
“富克斯的作品从来都不是真正意义上的深刻。” 勃拉姆斯曾这样评价道。尽管如此，富克斯仍是为数不多的几个能让勃拉姆斯真正感兴趣的作曲家之一（正如他们共同的朋友、外科医生西奥多·比尔罗特所指出的那样）。此外，勃拉姆斯还大力推动了富克斯的职业生涯。例如，“极为谦逊、腼腆且害羞的富克斯之前在与基斯特纳出版社谈判时感到非常尴尬”；于是勃拉姆斯便向自己的出版商弗里德里希·西姆罗克为他推荐了富克斯。维也纳音乐学家阿达尔贝特·格罗特还怀疑，勃拉姆斯在富克斯被任命为维也纳音乐学院的和声教授一事上也出了力。而且由于富克斯的生活相当不稳定，勃拉姆斯还在经济上给予了他帮助……
富克斯和勃拉姆斯一样，将单簧管视为五重奏中最重要的乐器。第一乐章通过一个引人注目的过渡主题将两个主要的抒情主题连接起来，散发出一种迷人的维也纳风情，让人不禁联想到舒伯特……（节选自伊娃·布拉斯克维茨撰写的唱片说明）
Artist: Sebastian Manz, The Danish String Quartet
Title: Fuchs & Brahms: Clarinet Quintets
Year Of Release: 2014
Label: CAvi-music
Genre: Classical
Quality: flac lossless
Total Time: 01:11:54
Total Size: 312 mb
WebSite: Album Preview
Tracklist
01. Quintet in E-Flat Major for Clarinet, Two Violins, Viola and Cello, Op. 102 (Robert Fuchs): I. Allegro molto moderato
02. Quintet in E-Flat Major for Clarinet, Two Violins, Viola and Cello, Op. 102 (Robert Fuchs): II. Allegro scherzando
03. Quintet in E-Flat Major for Clarinet, Two Violins, Viola and Cello, Op. 102 (Robert Fuchs): III. Andante sostenuto
04. Quintet in E-Flat Major for Clarinet, Two Violins, Viola and Cello, Op. 102 (Robert Fuchs): IV. Allegretto grazioso
05. Quintet in B Minor for Clarinet, Two Violins, Viola and Cello, Op. 115 (Johannes Brahms): I. Allegro
06. Quintet in B Minor for Clarinet, Two Violins, Viola and Cello, Op. 115 (Johannes Brahms): II. Adagio
07. Quintet in B Minor for Clarinet, Two Violins, Viola and Cello, Op. 115 (Johannes Brahms): III. Andantino
08. Quintet in B Minor for Clarinet, Two Violins, Viola and Cello, Op. 115 (Johannes Brahms): IV. Con moto
Sebastian Manz, The Danish String Quartet - Fuchs & Brahms: Clarinet Quintets (2014)
On 15 October 1895, Johann Strauss, Jr. celebrated the 50th anniversary of his performing career. One of the first guests to arrive and pay his respects to the “king of waltzes” was a great admirer, Johannes Brahms. Perhaps not just present to congratulate his fellow-composer, Brahms was certainly also interested in getting to hear a piece written specifically for the occasion: Robert Fuchs’s Serenade No. 5, a witty, cheerful work containing some quotes from Strauss’s operetta Die Fledermaus.
Fuchs attracted Brahms’s notice very early on. Brahms once praised him as “a splendid musician: everything is so fine and so skilful, so charmingly invented!” But Brahms was also aware of his younger colleague’s limitations. As other contemporaries remarked, Fuchs’s music was pleasant but often lacked dramatic effect. Born in 1847 as the youngest of thirteen children of a Styrian village schoolteacher, Fuchs’s lifelong reputation may even have suffered somewhat from the immediate success of his Serenade No. 1 for Orchestra in 1874: from then on, everyone referred to him as the “serenader fox”.
"Fuchs is never really profound”, Brahms remarked. Fuchs was nevertheless one of the rare composers in whom Brahms showed greater interest at all (as their common friend, the surgeon Theodor Billroth, noted). Moreover, Brahms energetically promoted Fuchs’s career. For instance, ”the extremely modest, timid and shy Fuchs had previously felt quite embarrassed” in negotiations with the Kistner publishing house; so Brahms put in a recommendation for him with Friedrich Simrock, his own publisher. Vienna musicologist Adalbert Grote also suspects that Brahms had a hand in Fuchs’s appointment as harmony professor at Vienna Conservatory. And since Fuchs led a rather precarious existence, Brahms helped him out financially as well...
Fuchs, like Brahms, treats the clarinet as first among equals. Connecting two main lyrical themes with a striking transitional motif, the first movement exudes a winning Viennese charm reminiscent of Schubert... (excerpt from the line notes by Eva Blaskewitz).
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