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Isabelle Faust & Alexander Melnikov -《贝多芬小提琴奏鸣曲全集》(Beethoven Complete Sonatas for Piano & Violin)[Harmonia Mundi][4CD更新完毕][APE]

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  • 摘要:
    古典类型奏鸣曲
    发行时间2009年
  • 时间: 2010/05/09 20:49:57 发布 | 2010/05/12 21:22:08 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Beethoven Complete Sonatas for Piano & Violin
专辑中文名贝多芬小提琴奏鸣曲全集
古典类型奏鸣曲
资源格式APE
版本[Harmonia Mundi][4CD更新完毕]
发行时间2009年
地区奥地利
语言法语
简介


IPB Image

作曲:Ludwig van Beethoven
演奏:Isabelle Faust, Alexander Melnikov
发行日期:2009
录音日期:2008
发行公司:harmonia mundi
唱片编号:HMC 902025.27
资源出处:感谢乐友tydhz提供资源,经允许后发布

专辑介绍

贝多芬一共作有10首小提琴奏鸣曲。这10首奏鸣曲,大致可分为4个部分。作品No.12的3首(第一至第三号),经推定为1795年的作品,多少受莫扎特的影响。OP.23、OP.24的两首(第四、第五)开始呈现出自己独特的光彩。OP.30的3首(第六至八号)是1802年左右的作品,开始往峰巅发展,至第九号达到最顶峰,而第十号则属于贝多芬的后期作品。

  贝多芬的这10首小提琴奏鸣曲,在他的室内乐中,较多柔美的气氛,与晚期的弦乐四重奏形成很鲜明的对比。10首以第五号《春天》和第九号《克鲁采尔》最为著名,但《春天》只是给我们提供了柔美和清秀,曲式上相应较为简单,而《克鲁采尔》则为小提琴奏鸣曲之中的杰作。

第1小提琴奏鸣曲

  贝多芬的第一号小提琴奏鸣曲,OP.12.1,D大调,作于1795年。OP.12题献给萨列里(Autonio Salieri),这首第一号奏鸣曲共3个乐章:1.灿烂的快板,D大调奏鸣曲式。这一乐章中的波浪状的演奏处理非常动人:先由钢琴作波浪状伴奏,主旋律变奏改由钢琴后,波浪状伴奏改由小提琴。发展部的前半主要以第一主题的后半旋律,好似大海的波浪的旋律进行了赋格式的处理,处处都可见华丽的和声转换。2.主题与变奏,流畅的行板,优美朴实的主题衍生出四段变奏曲。3.快板的回旋曲,D大调,其中有3个主题:第三主题以F大调与回旋主题形成强烈对比,这个第三主题在转调中与第一、二主题形成丰富多变的关系,尾奏中又巧妙地应用各主题的动机及变奏,中途再以降E大调奏出回旋主题,亦颇具风趣。

第2小提琴奏鸣曲

  贝多芬的第二号小提琴奏鸣曲,OP.12.2,A大调,作于1795年,共3个乐章;1.活泼的快板,A大调,奏鸣曲式,第一主题由动机不同的两部分组成:前乐节由钢琴主奏,以断片动机构成,开头4小节是含主和弦的和声,其琶音各自含有上行半音阶的自由挂留音,接下去4小节动机相同,同和弦的琶音分别随伴有下行的自由挂留音。小提琴以和弦伴奏,后乐节则由16分音符构成的经过句及短旋律组成。第二主题以轻快的小提琴断奏呈示,后半动机钢琴的低八度模仿。再现部两个主题形成应答。2.稍快的快板似的快板,A小调。钢琴独奏的行板主题略带淡淡的愁绪,第二主题多少有些赋格风格。3.优美的快板,A大调,回旋曲式。回旋主题轻快活泼,有小步舞曲风格,这个回旋曲主题有两个副主题,两个副主题都是二段体,由小提琴与钢琴的主奏与伴奏形成对比。

第3小提琴奏鸣曲

  贝多芬第三号小提琴奏鸣曲,OP.12.3,降E大调,作于1795年。这是OP.12中最为辉煌的一首,其中各主题的发展非常巧妙,对比又非常出色。共3个乐章:1.生气勃勃的快板,降E大调,奏鸣曲式;发展部有辉煌的快速音群。2.极富表情的慢板,C大调,三段体,徐缓而柔美,尾奏明显具幻想曲风格,其主调的四六和弦上的快速音群又完全像是协奏曲中的华彩风味。3.回旋曲,很快的快板,降E大调,是三主题回旋,其中有精彩的主题关系对比。

第4小提琴奏鸣曲

  贝多芬的第四号小提琴奏鸣曲,OP.23,A小调,呈献给富利斯(Morita Von Fries)伯爵。富利斯是当时贵族中最著名的音乐爱好者,其府邸沙龙曾是维也纳音乐交流的中心。这首第四号问世时,与第五号共同编号为23,后来才分开编号。这首作品大约作于1800年,共3个乐章:1.急板,A小调,奏鸣曲式。呈示部中对位法式的三声部处理极有特色,发展部把呈示部出现的动机小间主题或间奏,巧妙地结合构成大发展部。2.谐谑的行板,速度转快,A大调,奏鸣曲式,这是慢板与谐谑的结合,发展部两个主题动机巧妙结合,不停地转调而推向发展。3.很快的快板,A小调,自由扩大的回旋曲式,其中分为3部分:第一部分为小型回旋曲,第二部分为圣咏形态,主题以变奏化反复,第三部分回旋主调以主调出现,第二主题以A小调呈示,再以回顾各主题作为尾奏。

第5小提琴奏鸣曲(春天)

  第五号小提琴奏鸣曲(《春天》,OP.24,F大调,同样呈献给富利斯伯爵,作于1800年。《春天》的标题并不是贝多芬所定,是后人因此曲表达了希望、温馨和幸福感而赋予的。共4个乐章:1.快板,F大调,奏鸣曲式,此乐章迷人的是其转调处理,通过转调,小提琴与钢琴的位置出现变化,而不断荡漾出层次丰富的浪漫性。2.极富情感的慢板,降B大调。唯—一个抒情优美的旋律构成全乐章,这个主题与它的变奏,形成自由的变奏曲,其中两件乐器的对答充满“春天”的温暖感。3.谐谑曲,很快的快板,F大调,混合三段体。其中中段钢琴、小提琴以三度或六度平行音阶,音阶动机构成相反的声部。音阶动机构成的音乐主题与旋律式的谐谑主题,形成极佳的对比。4.回旋曲,从容的快板,F大调,是3个主题的回旋曲,回旋主题的变奏方式亦非常迷人。

第6小提琴奏鸣曲

  第六号小提琴奏鸣曲,OP.30.1,A大调,作于1802年。OP.30的3首奏鸣曲,呈献给当时的俄国沙皇亚历山大二世。这是1804年贝多芬创作《第三交响曲》的前期作品,已孕育着成熟。这首第六号在OP.30三首中,变化不如后两首,所以相比演奏次数最少。贝多芬在这首作品中追求的是平实的表达。共3个乐章:1.快板,A大调,奏鸣曲式。呈示部小提琴加六分音符纤细的插入句和发展部两乐器的切分音伸展、钢琴断奏彩饰,都较有特色。2.感情丰富的很慢的慢板,D大调,小回旋曲式,形式为A—B—A-C—A。3.变化多端的稍快的快板。这个第三乐章原来是第九号《克鲁采尔》急板的终乐章,因贝多芬觉过于华丽,而换成了现在这个变奏曲。这个乐章根据两件乐器交替表达的二段式主题,有6段变奏,A大调。

第7小提琴奏鸣曲

  第七号小提琴奏鸣曲,OP.30.2,C小调,是OP.30三首中最出色的一首。按著名音乐评论家贝卡的评述:“它具有选择调性所预期的悲怆效果,此曲以不同浓淡的音色、乐念组合而成,全曲达到自然、先天的统一。”此曲的4个乐章是:1.灿烂的快板,C小调,奏鸣曲式。这一乐章省略了呈示部的反复,有很庞大的尾奏,其扩大的终结部像是第二发展部。2.如歌的慢板,降A大调,三段体,也有颇长的尾奏,专为尾奏设计的新插入句呈示后,钢琴技巧性的来回演奏,最后平静地收尾。3.谐谑曲,快板,C大调,复合三段体,其性质类似小步舞曲,非常轻灵。其中段小提琴的层次表达,钢琴在低音部的赋格追逐,很有特点。4.快板,C小调,极不规则的回旋曲式,最后以急板结尾。

第8小提琴奏鸣曲

  第八号小提琴奏鸣曲,OP.30.3,G大调,据丹迪的诠释,当时贝多芬酷爱在户外散步,利用对“田园”的印象作成此曲。此曲比《田园》交响曲早作3年,与《田园》交响曲、《田园》钢琴奏鸣曲有异曲同工之妙。与第七号的严谨结构相比,此曲以弥漫轻快的气氛为特点,共3个乐章:1.很快的快板,G大调,奏鸣曲式。发展部两件乐器以尾奏中的颤音互为应答开头,很有味道。2.以优雅而极其中庸的小步舞曲节拍,降E大调,三段体。这一乐章其实是宁静的传统第二乐章与小步舞曲第三乐章的组合,所以在整体结构中成为重心。中段的典雅旋律是贝多芬最优美的旋律之一,后用于《降A大调钢琴奏鸣曲》(OP.110)。3.活泼的快板,G大调,形式虽是回旋曲式,却无程式不同的各主题的对立,程式为A(对位法式组合)-B-A-C—A。

第9小提琴奏鸣曲(克鲁采尔)

  贝多芬的第九号小提琴奏鸣曲(克鲁采尔),OP.47,A大调。这是贝多芬的所有小提琴奏鸣曲中,技巧表达最出色的一首,也是浪漫主义时期小提琴奏鸣曲形式表达的巅峰。这首作品是贝多芬专为当时英国的著名小提琴家布林格托瓦(George Augusus Polgreen Bridgetower,1780—1860)而作。布氏父亲是黑人,母亲是波兰人混血儿,布氏仅9岁就展示出惊人才华。这首作品作于1803年5月,作成后,5月24日由布林格托瓦首演,贝多芬本人亲自伴奏。但演出后,当时音乐界评述布林格托瓦的演奏过于矫揉造作。后此曲贝多芬又改献给布鲁塞尔的小提琴家克鲁采尔(RodolPhe Kreutzer,1766—1831)。据说,改赠的原因,是首演后贝多芬与布林格托瓦的关系破裂,而破裂原因是为一位少女。这一首作品的3个乐章是:1.持续的慢板——急板,A大调,含着序奏的奏鸣曲式,主部的第一主题是那种非常动人的热情,而第二主题则好似一种静静的祈祷,两个主题的呈示与发展非常精妙。2.变化多端的行板,由行板安宁柔美的主题及4段变奏组成,主题为F大调.全体系为3段体,变奏完成后以很慢的慢板华彩移入尾奏,平静地终了。3.终曲,急板,A大调,奏鸣曲式,这个乐章的主体由活泼的塔兰泰拉舞曲节奏构成,具有非常华丽辉煌的效果。

第10小提琴奏鸣曲

  第十号小提琴奏鸣曲,G大调,OP.96,作于1811—1812年,系第七、第八交响曲后的作品,这首奏鸣曲中洋溢着丰盈的幻想与晚年的达观心境,专为法国小提琴演奏家洛德(Jacques Pierre Joseph Rede,1774—1830)而作。1812年2月29日由洛德与鲁道夫大公首演,又呈献给鲁道夫大公。这首作品充满了自由浪漫气息,共4个乐章:1.中庸的快板,G大调,奏鸣曲式,呈示部两件乐器的对话,形成两个主题的交替,发展部极为简短,是形形色色的和声处理。2.感情丰富的慢板,降E大调,两段歌曲形式谱成充满田园风味的乐章,这个乐章可与《田园交响曲》的第二乐章媲美。3.谐谑曲,快板,G小调,三段体。4.稍快的快板,G大调,极巧妙的变奏曲式。各段变奏均呈示出丰富的即兴性,对主题的依存稀薄而富幻想风味。主题有9段变奏,尾奏以稍慢的慢板平静地回想主题,突然转成急极,形成高潮而结束。
(介绍来自网络)

演奏家介绍

伊莎贝儿·佛丝特(Isabelle Faust)五岁起向波本与齐格蒙第习琴,这一位新生代女小提琴家自1987年开始获得不少小提琴比赛的大奖,而且1997年由Harmonia Mundi为她发行的第一张巴尔托克小提琴曲集时,就被《Gramophone》杂志选为年度艺人。

亚历山大‧曼尼柯夫(Alexander Melnikov)被誉为廿一世纪最引人注目的优秀钢琴家,七岁与俄罗斯国家交响乐团合作并担当独奏,其后在舒曼国际钢琴比赛、伊丽莎白女王钢琴比赛等国际大赛中屡获殊荣,并获国家授予“青年音乐家”桂冠。

曼尼柯夫对音乐的感悟独到,在琴键间别具感染力的灵气演绎,得到已故钢琴音乐大师李赫特点名力赞,媒体亦为他冠上“未来李赫特”的称号。曼尼柯夫曾与多个世界着名乐团和指挥家合作,并定期在各着名音乐厅和音乐节举办钢琴独奏音乐会。在2000至2002年间,英国广播公司BBC把曼尼柯夫列为新生代音乐家的代表.

以下为英文介绍:

Isabelle Faust adopts a perspective on music in which ever-new experiences and discoveries are the principal focus. Having founded a string quartet when just eleven, her early chamber music experiences imbued in her a fundamental belief that performing is a process of giving and taking, in which listening is just as important as expressing your own personality.

Victory at the 1987 Leopold Mozart Competition, when she was just 15, brought with it the prospect of a solo career. However, the guiding principles instilled in her as a chamber musician remained strong. In Christoph Poppen, the long-time first violinist of the Cherubini Quartet, Faust found a teacher who shared and fostered these musical convictions. Whether performing sonatas or concertos, Faust constantly sought dialogue and the exchange of musical ideas. After winning the 1993 Paganini Competition, she moved to France, where she grew to love the French repertoire, particularly the music of Fauré and Debussy. Here she came to international attention with her first recording - sonatas by Bartók, Szymanowski and Janácek - and gradually refined her command of the most important works in the violin repertoire.

In 2003, Faust released her first recording of a major Romantic work for orchestra: the Dvorák Violin Concerto. Having first performed the concerto at the age of 15 under Yehudi Menuhin, the work has remained a mainstay of her repertoire. Her 2007 release of the Beethoven violin concerto also reflects her immersion in period performance practice - not interpreted dogmatically but used as a challenge and incentive to re-assess the substance of every note, in order to comprehend its purpose and meaning. For Faust, the ultimate importance of musical dialogue necessitates establishing a common language between performers, enabling artists to perform a Mozart concerto with an ensemble such as Concerto Köln as convincingly as with a large symphony orchestra.

It is precisely this willingness to open herself up to different musical idioms that has made Isabelle Faust a highly sought-after performer of contemporary music. The list of composers whose works she has premiered extends from Olivier Messiaen to Werner Egk and Jörg Widmann. She is a fervent proponent of music by György Ligeti, Morton Feldman, Luigi Nono and Giacinto Scelsi, as well as of forgotten works, such as French composer André Jolivet’s violin concerto. In 2009 she premiered works dedicated to her by composers Thomas Larcher and Michael Jarrell. Faust can be heard with her duet partner, the pianist Alexander Melnikov, in searching renditions of the chamber music repertoire in recordings for harmonia mundi, most recently in a performance of works by Johannes Brahms on period instruments. The complete Beethoven sonatas were released in 2009.
Increasing numbers of orchestras and conductors have come to appreciate Faust’s artistry in recent years: Claudio Abbado, Giovanni Antonini, Jirí Belohlávek, Daniel Harding, Heinz Holliger, Marek Janowski, Mariss Jansons, Sakari Oramo, the Munich Philharmonic, the Orchestre de Paris, the Boston Symphony Orchestra, the BBC Orchestras and the Mahler Chamber Orchestra are a few examples of the fruitful artistic partnerships that have emerged in recent years. In 2009 she made her Berlin Philharmonic debut. These musicians and ensembles have all come to appreciate Faust’s artistry: rather than merely mastering her instrument and its repertoire, experiencing and deeply exploring music lies at the heart of her work. Isabelle Faust performs on the 1704 “Sleeping Beauty” Stradivarius on generous loan to her from Germany’s L-Bank Baden-Württemberg.

Alexander Melnikov has earned a reputation as one of the finest Russian pianists of his generation. He was born in Moscow in 1973 and began his music studies at the age of 6 at Moscow’s Central Music School, then continued at the Moscow Tchaikovsky Conservatoire from where he graduated in 1997 in the class of professor Lev Naumov. Later he completed his post-graduate studies in Munich with Elisso Wirssaladze and at the Fondazione per il Pianoforte (Lago di Como, Italy) where he had lessons with Andreas Staier and Carl-Ulrich Schnabel among others. While still studying he became a prizewinner of several major international piano competitions (Schumann, Zwickau in 1989 and Queen Elisabeth, Brussels in 1991 among others) and began his international career shortly afterwards.

Alexander Melnikov collaborates with orchestras such as the Russian National Orchestra and Tokyo Philharmonic under Mikhail Pletnev, Leipzig Gewandhaus and Philadelphia Orchestra under Charles Dutoit, Rotterdam Philharmonic under Valery Gergiev, St. Petersburg Philharmonic under Yuri Temirkanov as well as the Royal Concertgebouw Orchestra, NHK Symphony Orchestra, BBC Philharmonic and BBC Symphony among others. He also performs on fortepiano, collaborating regularly with the Concerto Koeln and with Philippe Herrewege.

In recital, Melnikov appears regularly at the world’s leading concert halls like Concertgebouw, Suntory Hall, Alte Oper Frankfurt, Queen Elisabeth and Théâtre Musical de Paris Le Chatelet. Melnikov had close artistic ties with the late Sviatoslav Richter, who regularly invited him to participate in his festivals in Moscow (December Nights), and his chamber music festival in Grange du Meslay (Tours, France).Chamber music plays an important part in Melnikov’s activities. Between 1993 and 2003 he performed extensively with Vadim Repin, and at present he is a part of a well-established duo with Isabelle Faust. His partners also include Natalia Gutman, Yuri Bashmet, Alexander Rudin, Pieter Wispelwey and Jean-Guihen Queyras. In piano-duo he appears regularly with Andreas Staier, Boris Berezovsky, and Alexei Lubimov. Melnikov was featured as a BBC New Generation Artist from 2000 to 2002 and broadcasts regularly on BBC Radio 3 in recital and chamber music as well as performing and recording with the BBC Orchestras.

Alexander Melnikov records since 2004 for Harmonia Mundi France and has released CDs with Solo works by Brahms, Rachmaninow and Scriabin, as well as chamber music together with Isabelle Faust, Jean-Guihen Queyras and Teunis van der Zwart. The recordings of all Beethoven Sonatas for Violin and Piano (together with Isabelle Faust) received the Choc de Classica Award. The next releases will include among others the Shostakovich Preludes and Fugues for piano.


【注】

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专辑曲目

CD1

1 Violin Sonata No.1 - 1.Allegro con brio
2 Violin Sonata No.1 - 2.Andante con moto. Tema con variazioni
3 Violin Sonata No.1 - 3.Rondo. Allegro
4 Violin Sonata No.2 - 1.Allegro vivace
5 Violin Sonata No.2 - 2.Andante, piu tosto Allegretto
6 Violin Sonata No.2 - 3.Allegro piacevole
7 Violin Sonata No.3 - 1.Allegro con spirito
8 Violin Sonata No.3 - 2.Adagio con molt'espressione
9 Violin Sonata No.3 - 3.Rondo (Allegro molto)

CD2

1 Violin Sonata No.4 - 1.Presto
2 Violin Sonata No.4 - 2.Andante scherzoso, piu Allegretto
3 Violin Sonata No.4 - 3.Allegro molto
4 Violin Sonata No.5 - 1.Allegro
5 Violin Sonata No.5 - 2.Adagio molto espressivo
6 Violin Sonata No.5 - 3.Allegro molto
7 Violin Sonata No.5 - 4.Rondo. Allegro ma non troppo
8 Violin Sonata No.10 - 1.Allegro moderato
9 Violin Sonata No.10 - 2.Adagio espressivo
10 Violin Sonata No.10 - 3.Scherzo
11 Violin Sonata No.10 - 4.Poco Allegretto

CD3

1 Violin Sonata No.6 - 1.Allegro
2 Violin Sonata No.6 - 2.Adagio molto espressivo
3 Violin Sonata No.6 - 3.Allegretto con variazioni
4 Violin Sonata No.7 - 1.Allegro con brio
5 Violin Sonata No.7 - 2.Adagio cantabile
6 Violin Sonata No.7 - 3.Scherzo. Allegro
7 Violin Sonata No.7 - 4.Allegro
8 Violin Sonata No.8 - 1.Allegro assai
9 Violin Sonata No.8 - 2.Tempo di Minuetto
10 Violin Sonata No.8 - 3.Allegro vivace

CD4

1 Violin Sonata No.9 - 1.Adagio sostenuto - Presto
2 Violin Sonata No.9 - 2.Andante con variazioni
3 Violin Sonata No.9 - 3.Finale: Presto

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