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艺术家：塔姆辛·韦利-科恩
标题：门德尔松：d小调小提琴协奏曲、小提琴钢琴与弦乐协奏曲
发行年份：2013年
厂牌：Signum Classics
类型：古典音乐
音质：24位-48千赫兹FLAC/FLAC（分轨）
总时长：59分53秒
总大小：671兆字节/293兆字节
网站：专辑预览
曲目列表
费利克斯·门德尔松（1809-1847）
d小调小提琴协奏曲，MWV O3
1. 第一乐章 快板09分12秒
2. 第二乐章 行板07分41秒
3. 第三乐章 快板05分16秒
d小调小提琴与钢琴双协奏曲，MWV O4
4. 第一乐章 快板18分55秒
5. 第二乐章 柔板09分00秒
6. 第三乐章 很快的快板09分41秒
演奏者：
塔姆辛·韦利-科恩（小提琴）
休·沃特金斯（钢琴）
天鹅管弦乐团
指挥：大卫·柯蒂斯
马尔科姆·麦克唐纳的乐评指出，费利克斯·门德尔松的d小调小提琴协奏曲与乔瓦尼·巴蒂斯塔·维奥蒂的追随者罗多尔夫·克鲁采、皮埃尔兄弟（罗德和巴约）的作品有联系，同时也受到卡尔·菲利普·伊曼纽尔·巴赫细腻风格的影响。大卫·柯蒂斯与小提琴家塔姆辛·韦利-科恩以类似“狂飙突进”的激情将这些联系清晰呈现。第二乐章中，独奏者靠近麦克风的处理使得明显的呼吸声成为特色——尽管这未必讨喜（听众或许会琢磨，在管弦乐协奏曲现场需坐得多近才能听到这般呼吸声，可能近到不仅能听见，还能感受到气息）。不过，在这些略显干扰的呼吸声背后，流淌着浓郁的抒情性，而轻快的终曲则让韦利-科恩得以展现乐章中闪耀的演奏技巧。她用1721年的“费尼夫斯”斯特拉迪瓦里小提琴的低音区奏出极具感染力的音色（虽稍显浑厚）。
钢琴家休·沃特金斯与韦利-科恩共同演绎门德尔松的小提琴与钢琴协奏曲（同样为d小调）。这部作品的第一乐章时长几乎与早期小提琴协奏曲全篇相当，且听众可能会觉得它不仅更长，结构也更为成熟。在引子的全奏部分后，钢琴率先进入，沃特金斯充满感染力的华彩段落似乎设定了极高的标准，但韦利-科恩在戏剧性、音色和情感张力上与之不相上下，这种默契不仅体现在引子，更贯穿整个乐章。两位独奏者与管弦乐团似乎都敏锐捕捉到乐章中心段落中对未来乐思的预示。偶尔，韦利-科恩的音色会呈现出一种粗糙感，这或许是其乐器音色与运弓方式共同作用的结果，但这种粗粝感可能只会触怒极少数听众。慢乐章中，她的音色变得甜美柔和，使小提琴部分能与钢琴达成音乐上的平等对话，既如第一乐章的技巧段落般引人入胜，又在抒情性的对答中展现魅力。双人组合在振奋的终曲中完美融合了辉煌的技巧与充沛的节奏活力。
门德尔松的早期小提琴协奏曲何时会被普遍称为“第一小提琴协奏曲”？尽管作曲家并未如此出版，但已有类似的先例，如巴托克的“第一小提琴协奏曲”或拉威尔的“第一小提琴奏鸣曲”——二者均非作曲家本人出版或编号。至少目前尚未有贝多芬“C大调第一小提琴协奏曲”的说法，但未来或许会有。强烈推荐此专辑，尤其相较于阿利娜·伊布拉吉莫娃与弗拉基米尔·尤洛夫斯基及启蒙时代管弦乐团在Hyperion 67795中音色稍欠甜美的演绎，韦利-科恩对这部早期小提琴协奏曲的诠释更值得关注。笔者曾在《Fanfare》杂志中基于其自身价值对后者予以热忱推荐，而本作亦不遑多让。——罗伯特·马克瑟姆
Artist: Tamsin Waley-Cohen
Title: Mendelssohn: Violin Concerto in D Minor, Concerto for Violin, Piano & String
Year Of Release: 2013
Label: Signum Classics
Genre: Classical
Quality: FLAC 24bit-48kHz / FLAC (tracks)
Total Time: 59:53
Total Size: 671 / 293 Mb
WebSite: Album Preview
Tracklist:
Felix Mendelssohn (1809 - 1847)
Violin Concerto in D Minor, MWV O3
1. I. Allegro09:12
2. II. Andante07:41
3. III. Allegro05:16
Double Concerto for Violin and Piano in D Minor, MWV O4
4. I. Allegro18:55
5. II. Adagio09:00
6. III. Allegro molto09:41
Performers:
Tamsin Waley-Cohen (Violin)
Huw Watkins (Piano)
Orchestra of the Swan
Conductor: David Curtis
Malcolm MacDonald’s notes trace a connection between Felix Mendelssohn’s Violin Concerto in D Minor and the works of Giovanni Battista Viotti’s followers Rodolphe Kreutzer and the Pierres, Rode and Baillot, but also to the sensitive style of Carl Philipp Emanuel Bach. David Curtis and violinist Tasmin Waley-Cohen make these connections clear in Read more Sturm und Drang -like intensity. In the second movement, the closeness of the soloist to the microphones becomes especially noticeable in the heavy breathing that’s now become fashionable if not particularly palatable. (Listeners may want to ponder how close they’d have to sit to hear this in an orchestral concerto—probably close enough to feel the breath as well as hear it.) Nevertheless, behind that those intrusive breaths flows a rich lyricism, and the jaunty Finale provides an opportunity for Waley-Cohen to draw attention to the movement’s sparkling virtuosity. All the while, she draws a commanding (if a bit tubby) tone from the lower registers of the 1721 Fenyves Stradivari.
Pianist Huw Watkins joins Waley-Cohen in Mendelssohn’s Concerto for Violin and Piano, also in D Minor. The first movement of this work takes nearly as long as the whole of the early Violin Concerto; and it’s likely to strike listeners as not only longer but also more highly developed. After the introductory tutti, the piano enters first, and Watkins’s commanding bravura seems to set the bar very high, but Waley-Cohen matches him dramatically, tonally, and in expressive voltage, not only in the introduction but throughout the movement. Both soloists, as well as the orchestra, seem attuned to the foreshadowings of things to come in the loamiest passages in the movement’s central section. Here and there, a sort of roughness occurs in Waley-Cohen’s tone production, an effect compounded perhaps of her instrument’s timbre and her manner of drawing the sound from it, but this ruddiness may offend the sensibilities of only the rarest of listeners. In the slow movement, that tone takes on a mellifluous quality that serves the violin part well in achieving a musical equality with the piano, that is as engaging in lyrical dialogue here as in the first movement’s virtuosic passagework. The duo makes a strong case for the exhilarating Finale, combining its brilliance and its rhythmic vitality.
How long will it be before Mendelssohn’s early Violin Concerto becomes generally known as “Violin Concerto No. 1,” even though the composer didn’t publish it that way? There’s precedent for such retrospective meddling, as Bartók’s “Violin Concerto No. 1” or Maurice Ravel’s “Violin Sonata No. 1”—neither of which the composer published or numbered—attest. At least we haven’t yet heard of Beethoven’s “Violin Concerto No. 1 in C Major,” as we may in the future. Strongly recommended, and even more strongly for the early Violin Concerto than Alina Ibragimova’s less mellifluous performance with Vladimir Jurowski and the Orchestra of the Age of Enlightenment on Hyperion 67795, which on its own merits I warmly recommended back in Fanfare. -- Robert Maxham
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发表于 2025-6-8 08:35:45