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艺术家：艾莫·帕金
标题：艾莫·帕金 肖邦：圆舞曲全集
发行年份：2020年
厂牌：Paraty
流派：古典
音质：FLAC（分轨）/24位-96kHz FLAC（分轨+乐谱）
总时长：63分19秒
总大小：216兆字节/1.11吉字节
网站：专辑预览
曲目列表
01. 降E大调第1号圆舞曲，作品18“华丽大圆舞曲”：活泼地（5:50）
02. 降A大调第2号圆舞曲，作品34第1首“华丽大圆舞曲”：活泼地（6:05）
03. a小调第3号圆舞曲，作品34第2首“华丽大圆舞曲”：慢板（5:52）
04. F大调第4号圆舞曲，作品34第3首“华丽大圆舞曲”：活泼地（2:39）
05. 降A大调第5号圆舞曲，作品42“大圆舞曲”：活泼地（4:38）
06. 降D大调第6号圆舞曲，作品64第1首“一分钟”：极活泼地（2:01）
07. 升c小调第7号圆舞曲，作品64第2首：适当的速度（4:11）
08. 降A大调第8号圆舞曲，作品64第3首：中板（3:51）
09. 降A大调第9号圆舞曲，作品69第1首“离别”：慢板（4:02）
10. b小调第10号圆舞曲，作品69第2首：中板（3:40）
11. 降G大调第11号圆舞曲，作品70第1首：极活泼地（2:08）
12. f小调/降A大调第12号圆舞曲，作品70第2首：适当的速度（3:19）
13. 降D大调第13号圆舞曲，作品70第3首：中板（2:51）
14. 降A大调第16号圆舞曲，遗作B.21（1:19）
15. E大调第15号圆舞曲，遗作B.44：圆舞曲速度（2:37）
16. e小调第14号圆舞曲，遗作B.56：活泼地（3:16）
17. 第18号圆舞曲，遗作B.133：绵延地（2:10）
18. 第19号圆舞曲，遗作B.150：小快板（3:02）
弗雷德里克·肖邦被克劳德·德彪西称为“胸怀宽广的思想家”，其生平与职业生涯引发无数著述，亦成为诸多传奇、夸张故事与 caricatures（ caricature 此处指“夸张的描述”）的来源。肖邦以多元风格展现的天才，揭示了这位内向音乐家复杂的人格——他虽深居简出，却被炽热的激情所驱动。“表面上我是快乐的，”肖邦曾倾诉，“但内心却在燃烧。（……）生存的愉悦，紧接着便是对死亡的渴望。”
1851年2月起，在作曲家逝世不到两年的时间里，李斯特在《法国音乐》上撰写的肖邦专题文章中提及：“即便脾气温和、性格开朗，他也很少流露内心的挣扎。”除了非凡的技巧，肖邦的音乐（并非源自任何文学素材）交替唤起激情、热忱、感伤或忧郁，这或许源于他与故土波兰的疏离——自1830年离别后再未回归。用友人亨利·海涅的话说，“他真正的故乡是幻想的 enchanted kingdom（ enchanted kingdom 此处指“魔幻王国”）”。
肖邦几乎将全部心力倾注于钢琴，他赋予这一乐器全新的表达，因不愿让灵感在管弦乐的“喧嚣”中消散。他更青睐键盘乐器细腻的音色，并与之深度共鸣。乔治·桑曾说：“他的创作浑然天成，如同奇迹。无需寻觅或规划，灵感便会突然降临，完整而崇高地呈现在钢琴上。（……）他从无需宏大的手段来展现天赋。”肖邦的学生、钢琴家乔治·马蒂亚斯曾言，钢琴在他的指尖下才真正存在。无怪乎作曲家夏尔·克尔钦认为肖邦是现代音乐最本真的创作者之一。艾莫·帕金此次演绎作曲家的19首圆舞曲。
Artist: Aimo Pagin
Title: Chopin: Complete Waltzes
Year Of Release: 2020
Label: Paraty
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 63:19
Total Size: 216 MB / 1.11 GB
WebSite: Album Preview
Tracklist:
01. Waltz No. 1 in E-Flat, Op. 18 "Grande valse brillante": Vivo (5:50)
02. Waltz No. 2 in A-Flat, Op. 34 No. 1 "Grande valse brillante": Vivace (6:05)
03. Waltz No. 3 in A Minor, Op. 34 No. 2 "Grande valse brillante": Lento (5:52)
04. Waltz No. 4 in F, Op. 34 No. 3 "Grande valse brillante": Vivace (2:39)
05. Waltz No. 5 in A-Flat, Op. 42 "Grande valse": Vivace (4:38)
06. Waltz No. 6 in D-Flat, Op. 64 No. 1 "Minute": Molto vivace (2:01)
07. Waltz No. 7 in C-Sharp Minor, Op. 64 No. 2: Tempo giusto (4:11)
08. Waltz No. 8 in A-Flat, Op. 64 No. 3: Moderato (3:51)
09. Waltz No. 9 in A-Flat, Op. 69 No. 1 "Farewell": Lento (4:02)
10. Waltz No. 10 in B Minor, Op. 69 No. 2: Moderato (3:40)
11. Waltz No. 11 in G-Flat, Op. 70 No. 1: Molto vivace (2:08)
12. Waltz No. 12 in F Minor/A-Flat, Op. 70 No. 2: Tempo giusto (3:19)
13. Waltz No. 13 in D-Flat, Op. 70 No. 3: Moderato (2:51)
14. Waltz No. 16 in A-Flat, Op. posth. B. 21 (1:19)
15. Waltz No. 15 in E, Op. posth. B. 44: Tempo di valse (2:37)
16. Waltz No.14 in E Minor, Op. Posth. B. 56: Vivace (3:16)
17. Waltz No. 18, Op. posth. B. 133: Sostenuto (2:10)
18. Waltz No. 19, Op. posth. B. 150: Allegretto (3:02)
The life and career of Frederic Chopin, whom Claude Debussy described as a “man of generous ideas,” have elicited many writings, and have been the source of many legends, excessive tales, and caricatures. Chopin’s genius, expressed in many different manners, reveals the complex personality of a secretive musician who kept to himself but was also driven by an all-encompassing passion. “Externally I am joyful,” Chopin would confide, “but internally I am consumed. (...) The pleasure of living, and immediately thereafter a desire for death”.
In articles dedicated to Chopin in La France Musicale starting in February 1851, less than two years after the composer’s death, Liszt would speak to that effect: “Even tempered and jovial, he seldom let on to the secret convulsions that racked him”. Aside from exceptional virtuosity, Chopin’s music – which does not stem from any literary source – evokes in turn feelings of passion or enthusiasm, emotion or melancholy, perhaps owing to his estrangement from his native Poland, which he left in 1830 never to return. In the words of his friend Henri Heine, “his real homeland was the enchanted kingdom of fantasy”.
Chopin dedicated the quasi-totality of his efforts to the piano, an instrument to which he gave a new voice, because he did not wish to dissipate his inspiration in the “hubbub” of the orchestra. He preferred concentrating on the delicate tonality of the keyboard instrument, with which he thoroughly identified. According to George Sand, “his creation was spontaneous, miraculous. He found it without looking for it, with no planning. It would come to his piano suddenly, complete and sublime. (...) He never needed expansive means to express his genius”. Pianist George Mathias, a former student of Chopin’s, would say that his piano only ever existed under his fingers. It is no surprise that composer Charles Koelchin considered Chopin to be one the most authentic creators of modern music. Aimo Pagin performs here the 19 Waltzes of the composer.
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发表于 2025-5-21 08:07:46