Nikolai.Demidenko.-.[Muzio.Clementi.-.Piano.Sonatas.(Hyperion.2006)].专辑.(ape).rar

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xuyuanjing11

2010/05/03 16:39:12

[0]

喜欢！！谢谢！！

宋卉君SongHuijun

2009/04/12 00:22:17

[+38]

[-2]

欣赏Muzio Clementi 的非凡天赋、谦逊人格！
Muzio Clementi 优美动听、轻松愉快、充满活力与朝气的钢琴音乐足以证明他独特的音乐风格和成就。

Nikolai Demidenko这张“Muzio Clementi Piano Sonatas”是很严谨完美的演绎，
收录了Muzio Clementi 的
Piano Sonata in b minor Op.40 No.2
Piano Sonata in D major Op.40 No.3
Piano Sonata in f sharp minor Op.25 No.5
知名的Piano Sonata in B flat major Op.24 No.2

Piano Sonata in B minor Op 40 No 2
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10 Molto adagio e sostenuto —
11 Allegro con fuoco e con espressione
12 Largo, mesto e patetico —
13 Allegro —
14 Tempo I [Molto adagio] —
15 Presto

Piano Sonata in D major Op 40 No 3
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1 Adagio molto — Allegro
2 Allegro con molto espressione —
3 Allegro [— Minore — Maggiore]

Piano Sonata in F sharp minor Op 25 No 5 (Op 26 No 2)
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4 Più tosto allegro con espressione
5 Lento e patetico
6 Presto

Piano Sonata in B flat major Op 24 No 2 (Op 41 No 2 / Op 47 No 2)
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7 Allegro con brio cadenza by Nikolai Demidenko
8 Andante (quasi Allegretto)
9 Rondo: Allegro assai

SONATA IN F SHARP MINOR Op 25 No 5
The F sharp minor Sonata—usually identified as Op 26 No 2 but in fact published originally by Dale of London as the fifth of ‘Six Sonatas for the Piano Forte; dedicated to Mrs Meyrick … Opera 25’ (entered Stationers’ Hall, 8 June 1790)—is an example of what Shedlock in 1895 defined as that class of Clementi work where ‘his heart and soul were engaged’ to the full. The tenor of its first movement is a mixture of dolce expression, capricious fingerwork, off-beat sforzando accents, teasing articulation (the slurs and dots tell in an orchestral way), and tonal surprise (not least the polarity of the exposition which closes in the dominant minor, C sharp, rather than the expected relative major, A, of Classical routine). The reprise—expanded and developmental—is irregular: alternately bleak and brilliant in figuration and character, what it does in particular with the opening idea (imitatively, registrally, harmonically) is wittily provocative.
The middle slow movement is in B minor, a poignantly felt song, potently textured and voiced, dramatic in its contrasts of soft and loud, of minorial pathos and sweet maggiore release, of dark diminished-seventh tension, of poetically meaningful ornamentation. Structurally its shape is elegant and balanced, combining breadth of phrasing with economy of expression.
The __ Presto finale is an imaginatively inventive cameo of Scarlattian brilliance and Mendelssohnian fleetness, of glittering thirds and equally elfin and stormy octaves. Historically, such music is Classical. Temperamentally, it is Romantic.

SONATA IN D MAJOR Op 40 No 3
The three turn-of-the-century Op 40 Sonatas were issued in 1802 in London (entered Stationers’ Hall, 11 September), Paris (October) and Vienna (November). As Harold Truscott has shown (to the point of comparative illustration) the Allegro con fuoco of the B minor, No 2, and the Adagio molto of the D major, No 3, have much in common with the first two movements of Beethoven’s D major Sonata, Op 10 No 3 (published four years earlier). Coincidence? Plagiarism? Who now was influencing whom? Or was it simply that both composers were men of their time, speaking the same lingua musica? We cannot be sure. The links though are certainly uncanny. Not quite a sonata quasi una fantasia, but with plenty of fantasy in its bones, the B minor is an extraordinary affair. Prefaced by a slow introduction (track bl )—a tempestuous mix of Classical rigour, Hungarian fire and a moment of bass shift that might almost be out of Beethoven’s yet-to-be-printed Op 31 No 2 (fourteen bars before the end of the exposition)—the first movement bm is large-scaled, with the exposition (repeated) closing in the dominant minor (cf Op 25 No 5), followed by a lengthy development that contrasts exposed, icy two-part legato canonic writing (very Clementian, cf the minore of the companion D major Sonata’s finale) with brilliant staccato attack, crisp thirds/sixths and bravura broken octaves. The second movement, combining the functions of alternating adagio and finale, is a curious structure: A1 (Largo bn)—B1 (Allegro bo)—A2 (Molto adagio bp)—B2 (Presto bq ). A1 is a sonata design, with the start of the development section alluding back cyclically to the pair of right-hand diminished sevenths a fourth apart which round off the slow introduction of the first movement. The recapitulation omits the first subject which is brought back instead in A2, a ferocious, speeded-up coda of virtuoso figuration and punched-out cadence. The bleak, sparse, recitative-like slow sections variously remember C.P.E Bach and beckon late Beethoven.
Announced by a portentous double-dotted introduction in the minor, the D major, Op 40 No 3, is more conventional, a sonata in the brillante style which looks equally to Mozart and Beethoven. Its most immediately Beethovenian coincidence (‘Waldstein’ link-passages apart) is the lyrical first subject of the first movement, an idea whose combination of tonic pedalnote drone and flattened-seventh subdominant colour brings to mind at once the opening of Beethoven’s ‘Pastorale’ Sonata, Op 28 (in the same key), published in Vienna the previous month—a work whose subsequent first-movement developmental climax on F sharp (viewed as the dominant of the submediant, B ) is likewise shared. The most Mozartian aspect is the dolce element of the same Allegro’s second subject group, a theme whose quality of child-like innocence can also remind one of Schubert (the Rondo of the D major Sonata, D850, for instance). Initially, the C natural inflexion of the first subject is harmonic. Latterly, in the polyphony of the development section, it becomes tonal—an interesting example of organic long-term association. Leading straight into the finale (a bright sonata-rondo with a tricky canonic minore), the D minor slow movement, a yearning tapestry of rich gran espressione feeling, supported by wondrous harmonic sonority, embellishment and voicing, concentrates the attention differently. ‘For the Piano Forte’, says the first edition—rightly. Here indeed is music born out of an instrument already modern.