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艺术家：狄德罗合奏团、约翰内斯·普拉姆索勒
标题：狄德罗合奏团《柏林专辑》
发行年份：2020年
厂牌：Audax唱片
流派：古典音乐
音质：FLAC（分轨）/24位-96千赫兹FLAC（分轨+小册子）
总时长：69分08秒
总大小：418兆字节/1.53吉字节
网站：专辑预览
曲目列表：
01.E大调三重奏鸣曲：第一乐章 中等快板（4分07秒）
02.E大调三重奏鸣曲：第二乐章 小广板（2分26秒）
03.E大调三重奏鸣曲：第三乐章 急板（2分55秒）
04.A大调三重奏鸣曲，GWV Av:XV:41：第一乐章 柔板（4分38秒）
05.A大调三重奏鸣曲，GWV Av:XV:41：第二乐章 不过分的快板（4分31秒）
06.A大调三重奏鸣曲，GWV Av:XV:41：第三乐章 活泼的快板—谐谑曲（7分02秒）
07.D小调三重奏鸣曲：第一乐章 行板（2分12秒）
08.D小调三重奏鸣曲：第二乐章 快板（3分08秒）
09.D小调三重奏鸣曲：第三乐章 急板（2分12秒）
10.D大调赋格曲（2分17秒）
11.A小调三重奏鸣曲：第一乐章 小快板（4分29秒）
12.A小调三重奏鸣曲：第二乐章 庄严的柔板（2分29秒）
13.A小调三重奏鸣曲：第三乐章 稍快板（2分40秒）
14.G大调“忧郁与 sanguineus”三重奏鸣曲，GWV A:XV:11：第一乐章 深情的（3分34秒）
15.G大调“忧郁与 sanguineus”三重奏鸣曲，GWV A:XV:11：第二乐章 不过分的快板（4分31秒）
16.G大调“忧郁与 sanguineus”三重奏鸣曲，GWV A:XV:11：第三乐章 很快的快板（4分24秒）
17.G大调三重奏鸣曲：第一乐章 行板（3分15秒）
18.G大调三重奏鸣曲：第二乐章 不过分的快板（4分55秒）
19.G大调三重奏鸣曲：第三乐章 里拉风格的活泼快板（3分31秒）
继备受赞誉的系列之后，狄德罗合奏团延续其“城市系列”——继德累斯顿、巴黎和伦敦之后，此次聚焦柏林。这张新专辑中的作品（除一首外）均为世界首录——充满令人振奋的音乐。独特的是，或许有人会认为这张“柏林专辑”相当大胆：没有C.P.E.巴赫、没有匡茨，也没有长笛！相反，狄德罗合奏团在这组罕见的柏林三重奏鸣曲选集中，使用了一架精美的 Silbermann 古钢琴复制品——与腓特烈二世宫廷中的乐器相同——其音色变化令人惊叹。
当人们想到18世纪中叶的柏林音乐时，首先映入脑海的无疑是吹奏长笛的国王腓特烈二世（“大帝”），甚至会质疑“柏林”专辑是否该称为“波茨坦专辑”。这张专辑的理念是聚焦柏林，但避开通常被视为核心的三位音乐主角：腓特烈、他的长笛，以及卡尔·菲利普·伊曼纽尔·巴赫。然而，的确正是得益于这位普鲁士君主的文化政策，柏林才成为重要的音乐中心。与德累斯顿不同，在柏林，音乐不仅存在于宫廷，更遍布整个城市及周边。首都中有无数私人场所举办音乐会，皇家礼拜堂成员也参与其中。低音提琴手雅尼奇延续了他在莱茵斯贝格组织的“周五学院”每周音乐会系列。
柏林的室内乐主要由专业音乐家主导——他们演奏的作品并非批量生产，而是内容充实、技术要求极高的佳作。两把小提琴在此完全平等地演奏，七把位的段落更让人联想到 virtuoso 小提琴协奏曲中的独奏段落，而非家用室内乐。总之，与德累斯顿相比，柏林堪称室内乐的真正乐土。
此前的录音已获评论家一致赞誉：“演绎此曲目的梦幻团队。”——《早期音乐评论》
“狄德罗合奏团以灵巧的专业技巧和饱满的热情演奏这些作品。”——《留声机》
Artist: Ensemble Diderot, Johannes Pramsohler
Title: The Berlin Album
Year Of Release: 2020
Label: Audax Records
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 69:08
Total Size: 418 MB / 1.53 GB
WebSite: Album Preview
Tracklist:
01. Trio sonata in E Major: I. Mezzo allegro (4:07)
02. Trio sonata in E Major: II. Larghetto (2:26)
03. Trio sonata in E Major: III. Presto (2:55)
04. Trio sonata in A Major, GWV Av:XV:41: I. Adagio (4:38)
05. Trio sonata in A Major, GWV Av:XV:41: II. Allegro non troppo (4:31)
06. Trio sonata in A Major, GWV Av:XV:41: III. Vivace. Allegro. Scherzando (7:02)
07. Trio sonata in D Minor: I. Andante (2:12)
08. Trio sonata in D Minor: II. Allegro (3:08)
09. Trio sonata in D Minor: III. Presto (2:12)
10. Fugue in D Major (2:17)
11. Trio sonata in A Minor: I. Allegretto (4:29)
12. Trio sonata in A Minor: II. Adagio maestoso (2:29)
13. Trio sonata in A Minor: III. Poco allegro (2:40)
14. Trio sonata in G Major "Melancholicus & Sanguineus", GWV A:XV:11: I. Affettuoso (3:34)
15. Trio sonata in G Major "Melancholicus & Sanguineus", GWV A:XV:11: II. Allegro non troppo (4:31)
16. Trio sonata in G Major "Melancholicus & Sanguineus", GWV A:XV:11: III. Allegro di molto (4:24)
17. Trio sonata in G Major: I. Andante (3:15)
18. Trio sonata in G Major: II. Allegro ma non tanto (4:55)
19. Trio sonata in G Major: III. Vivace alla lira (3:31)
Following on from their critically acclaimed series, Ensemble Diderot continues its 'city series' - after Dresden, Paris and London now Berlin. All the works (except one) in this new recording are world premiere recordings - really exciting music. Uniquely, and some might say something rather radical for a "Berlin Album" no CPE Bach, no Quantz and no Flute! Instead on this rare selection of Trio Sonatas from Berlin, the Ensemble Diderot uses a wonderful copy of a Silbermann Fortepiano - the same as Frederick II had at the court - which gives an incredible variety of colours. When one contemplates mid eighteenth-century music from Berlin, the first thing that comes to mind is undoubtedly the flute-playing King Frederick II ("the Great"), and one asks oneself if a "Berlin" album should actually be a "Potsdam" album. The idea behind the present recording is to focus on Berlin, but without taking into account the three usually perceived musical protagonists: Frederick, his flute, and Carl Philipp Emanuel Bach. However, it is indeed primarily thanks to the cultural policy of the Prussian monarch that Berlin became a noteworthy musical centre. In contrast to Dresden, in Berlin music was not only made at court, but throughout the city and beyond. There were countless private venues in the capital city in which concerts were given with the participation of members of the royal chapel. Double bass player Janitsch continued the weekly concert series that he had already organised in Rheinsberg as "Friday Academies." Chamber music in Berlin was firmly in the hands of professional musicians - the compositions they played were not mass-produced pieces, but rather substantial works that were likewise demanding in terms of technique both violins play here on an entirely equal footing passages in seventh position that are more reminiscent of solo passages in a virtuoso violin concerto than chamber music for domestic use. All in all, Berlin, in contrast to Dresden, was a true chamber music El Dorado. Previous recordings have gained universal praise from the critics: "A dream team for this repertoire." Early Music Review "The Ensemble Diderot plays these works with nimble expertise and good spirit" GRAMOPHONE
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发表于 2025-5-22 08:17:11