03-穆索尔斯基、柴可夫斯基与拉赫玛尼诺夫 (2016) [Hi-Res]

厚道大哥

艺术家：伊利亚·拉什科夫斯基  
标题：穆索尔斯基、柴可夫斯基与拉赫玛尼诺夫  
发行年份：2016年  
厂牌：拉穆西卡  
流派：古典，钢琴  
音质：flac无损格式 / 24位-96.0千赫兹 + 小册子  
总时长：01:10:07  
总大小：275兆字节 / 1.1千兆字节  
网站：专辑预览  

曲目列表  
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01. 杜姆卡，作品59  
02. 浪漫曲，作品5，第1首  
03. 图画展览会：I. 漫步[I]  
04. 图画展览会：II. 侏儒  
05. 图画展览会：III. 漫步[II]  
06. 图画展览会：IV. 古堡  
07. 图画展览会：V. 漫步[III]  
08. 图画展览会：VI. 杜伊勒里宫花园  
09. 图画展览会：VII. 牛车  
10. 图画展览会：VIII. 漫步[IV]  
11. 图画展览会：IX. 蛋壳里的小鸡芭蕾舞  
12. 图画展览会：X. 萨穆埃尔·戈登堡与舒穆埃尔  
13. 图画展览会：XI. 漫步[V]  
14. 图画展览会：XII. 里莫日的集市  
15. 图画展览会：XIII. 地下墓穴  
16. 图画展览会：XIV. 用死亡语言与死者对话  
17. 图画展览会：XV. 鸡脚上的小屋  
18. 图画展览会：XVI. 基辅大门  
19. 挽歌，作品3：第一首挽歌，作品3  
20. 第二钢琴奏鸣曲，作品36：I. 激动的快板  
21. 第二钢琴奏鸣曲，作品36：II. 不太快的快板  
22. 第二钢琴奏鸣曲，作品36：III. 很快的快板  

《图画展览会》是这张专辑的核心，其他作品的选择也围绕它展开。在决定录制前，我已重新开始在音乐会上演奏拉赫玛尼诺夫的第二钢琴奏鸣曲，因此对它非常熟悉。将这两部作品放在一起似乎很合理，因为奏鸣曲中明显可见穆索尔斯基的影响。然而，拉赫玛尼诺夫的主要灵感来源显然是柴可夫斯基，因此他也自然地在曲目单中占据了一席之地。最近我演奏了拉赫玛尼诺夫献给柴可夫斯基的第一双钢琴组曲，其最后乐章《复活节》明确呼应了《图画展览会》中的《基辅大门》，形成了一个闭环。  

我在人生的不同阶段结识了这些作品。小时候我弹奏柴可夫斯基的作品，8岁时演奏《浪漫曲》，12或13岁时为弗拉基米尔·克莱涅夫国际青年钢琴家比赛演奏《杜姆卡》。拉赫玛尼诺夫的奏鸣曲出现在我的青春期，我立刻选择了作曲家自己修订的版本。尽管我喜欢原版，但更适应修订版，它显然更具表现力。  

《图画展览会》是我最后接触的作品，首次演奏是在2009年，因为我认为演奏它需要一定的成熟度。我对它的解读可以说是非常个人化的，因为我从未和老师一起研究过总谱。对于某些音乐，我需要独自探索，不去了解其他钢琴家的处理方式，《图画展览会》就是如此。尽管这部作品需要巨大的能量投入，但它也会回馈一种真正具有变革性的正能量。我最喜欢穆索尔斯基这部杰作的结构，以及它独特的超越性。例如，从巴巴亚加的小屋释放的黑暗力量到基辅大门的明亮结尾的递进让我着迷。当金光闪闪的钟声响起时，我感觉自己真的回到了俄罗斯。

Artist: Ilya Rashkovskiy
Title: Moussorgski, Tchaïkovski & Rachmaninov
Year Of Release: 2016
Label: La Musica
Genre: Classical, Piano
Quality: flac lossless / flac 24bits - 96.0kHz +booklet
Total Time: 01:10:07
Total Size: 275 mb / 1.1 gb
WebSite: Album Preview

Tracklist
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01. Dumka, op. 59
02. Romance, Op. 5, No. 1: Romance, Op. 5
03. Les Tableaux d'une exposition: I. Promenade [I]
04. Les Tableaux d'une exposition: II. Gnomus
05. Les Tableaux d'une exposition: III. Promenade [II]
06. Les Tableaux d'une exposition: IV. Le vieux château
07. Les Tableaux d'une exposition: V. Promenade [III]
08. Les Tableaux d'une exposition: VI. Le jardin des Tuileries
09. Les Tableaux d'une exposition: VII. Bydlo
10. Les Tableaux d'une exposition: VIII. Promenade [IV]
11. Les Tableaux d'une exposition: IX. Ballet des poussins dans leurs coques
12. Les Tableaux d'une exposition: X. Samuel Goldenberg et Schmuyle
13. Les Tableaux d'une exposition: XI. Promenade [V]
14. Les Tableaux d'une exposition: XII. Limoges, le marché
15. Les Tableaux d'une exposition: XIII. Catacombes
16. Les Tableaux d'une exposition: XIV. Cum mortuis in lingua mortua
17. Les Tableaux d'une exposition: XV. La Cabane sur des pattes de poule
18. Les Tableaux d'une exposition: XVI. La Grande Porte de Kiev
19. Elégie Op. 3: Élégie No. 1, Op. 3
20. Sonate n° 2, Op. 36: I. Allegro agitato
21. Sonate n° 2, Op. 36: II. Non allegro
22. Sonate n° 2, Op. 36: III. Allegro molto

Pictures at an Exhibition is the mainstay of this disc, the other pieces having been chosen with it in mind. I had started to play Rachmaninoff’s Sonata no. 2 in concert again before the decision to make the recording was taken, so it was under my fingers. It seemed logical to put the two works together because the influence of Mussorgsky is very much in evidence in the sonata. However, Rachmaninoff’s primary source of inspiration was clearly Tchaikovsky, who therefore, and quite naturally, also claimed a place in the programme. I have recently played Rachmaninoff’s Suite no. 1 for Two Pianos, dedicated to Tchaikovsky. The last movement, entitled Easter, explicitly evokes The Great Gate of Kiev from Pictures at an Exhibition, thus closing the circle.

I got to know all these works at different stages of my life. I played the Tchaikovsky pieces as a child, the Romance at the age of 8 and Dumka at 12 or 13, for the Vladimir Krainev International Competition for Young Pianist. The Rachmaninoff sonata came into my life during my adolescence and I immediately opted for the version revised by the composer himself. Despite my affection for the original edition, I feel more at home with the revised and ostensibly more effective version.

Pictures is the work I came to last, playing it for the first time in 2009, because I believe it requires a certain maturity. My reading of it could be said to be highly personal, since I have never studied the score with a teacher. With some music I feel the need to shut myself away, without trying to find out how other pianists approach it. That was the case with Pictures. Although the piece demands a vast input of energy, it generates a literally transformative positive energy in return. What I like most about Mussorgsky’s masterpiece is the construction, together with a very individual kind of transcendence. I am fascinated, for example, by the progression which leads us from the dark forces unleashed by Baba Yaga’s Hut to the luminous conclusion of the Great Gate of Kiev. As its gleaming bells ring out, I feel myself truly transported back to Russia.

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