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Jean-Guihen Queyras -《海顿;蒙恩:大提琴协奏曲》(Haydn; Monn: Cello Concertos)更新Scans[APE]

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  • 摘要:
    古典类型协奏曲
    发行时间2004年04月23日
  • 时间: 2012/01/03 12:50:32 发布 | 2012/01/05 09:55:50 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Haydn; Monn: Cello Concertos
专辑中文名海顿;蒙恩:大提琴协奏曲
古典类型协奏曲
资源格式APE
版本更新Scans
发行时间2004年04月23日
地区法国
语言英语
简介

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发行公司:℗ 2004 harmonia mundi
资源出处:Demonoid
作曲家:Franz Joseph Haydn; Georg Matthias Monn
乐团指挥:Petra Müllejans
乐团演奏:Freiburg Baroque Orchestra

专辑介绍:

Jean-Guihen Queyras,我就不再介绍了,想了解的请参见我其他他的资源帖;
真的是我最近非常喜欢的一个艺术家。

这一张是Queyras演奏的海顿第一、第二大提琴协奏曲以及蒙恩的大提琴协奏曲,
海顿在音乐史上的形象跟巴赫差不多,而蒙恩跟海顿比则要算是不那么知名的作曲家了,
但是本张专辑中的最后三首蒙恩的大提琴协奏曲却并不只是充充数而已,
其乐曲生动活泼,类似维瓦尔第的风格,当然Queyras对其的演绎也是没话说的好;
很多人喜欢海顿第一协奏曲的第三乐章,但是这一张CD里面,
我最喜欢的还是Queyras在海顿第二协奏曲第一乐章中间部分的演奏,
技巧之高超真是令人惊叹,以前听过很著名的Rostropovich和Steven Isserlis的版本,
现在找来听竟然还是更喜欢Queyras这一版。

贴一下海顿大协资源帖中千篇一律的介绍:

引用
海顿一生著有多少部大提琴协奏曲?根据《音乐圣经》上的介绍:在A·V·霍伯肯1979年编辑的《海顿作品目录》中有关条目的解释,应该有五部,另一部无法辨别真伪。在这五部作品中第三号乐谱情况不明,第四和第五号也没有足够的资料能够证明是海顿的作品。而在海顿1809年委托别人编撰的作品目录中也没有标出这些无从考证的大提琴协奏曲,所以能够确认的只有第一号(C大调 编号:Hob.VIIb-1)和第二号(D大调 编号:Hob.VIIb-2)。顺便提一下,海顿作品的编号非常奇怪,其实前缀“Hob.”正是《海顿作品目录》的编者A·V·霍伯姓氏的简写,后面的数字部分则按照不同的曲式分门别类并进行编号。

言归正传,在这硕果仅存的两部大提琴协奏曲中,《C大调第一号协奏曲》直到50多年前才被世人所发掘。这部珍贵的作品在贵族文库与图书馆中足足埋没了将近二百年之久。直到1961年,捷克音乐学者蒲尔克特才在布拉格国立图书馆发现了海顿时期的手抄分谱,之后由科隆的海顿研究所学术主任费达透过谱纸的水印判断,认定此谱为可信度极高的手抄谱,同时进一步确认此曲谱就是海顿所作的大提琴协奏曲。最终于1962年5月19号的布拉格之春音乐节进行了发掘之后的首次演出,引起极大轰动。这部《第一大提琴协奏曲》作于1765-1767年之间,当时正在艾斯特哈萨城堡供职的海顿正是三十多岁风华正茂的年纪,并且刚刚成为尼古拉亲王艾斯特哈吉宫廷乐队的乐长。因此,这部协奏曲既带有青年海顿明快、优雅、幽默的风格特征,在艺术上也是比较成熟的。同代人莫扎特和贝多芬都没有写过大提琴协奏曲,所以海顿的这部作品堪称当时大提琴协奏曲中的代表作品。

海顿的《C大调第一大提琴协奏曲》,其共分为三个乐章:第一乐章 中板,C大调,3/4拍子。这个乐章为协奏型奏鸣曲形式,不过总奏与主奏形成尖锐对比的手法,反映了复奏形式的痕迹;从单调的伴奏音形中可以感觉到巴洛克的余风。而进入总奏以第一主题开始的绚丽的结尾部终结,充分显示了由巴洛克的复现形式进入古典派奏鸣曲形式的协奏曲过渡期结构。整个乐章节奏舒缓,旋律柔美,大提琴表现出低沉、宽广的个性,与作品的整体风格融为一体。第二乐章 慢板,F大调,2/4拍子,三段体。这是由主奏大提琴与弦乐器呈示的静谧而抒情的乐章。乐曲中充满了优雅的旋律美,显示出海顿在旋律剧作上独具的功力。第三乐章 甚快板,C大调,4/4拍子。这个乐章也是协奏型奏鸣曲形式,与保留有巴洛克余风的第一乐章采用几乎相同的结构。全曲与巴洛克协奏曲同样,总奏部分总是简洁地呈示主题,主奏大提琴出现的部分发挥了主奏者的技巧。这个乐章的速度非常之快,要让大提琴疾速如飞起来,对于演奏者的功力确实是一个考验。然而最后出来的效果确实可以令听众为之振奋,实在是一种难以言表的愉悦感觉,还是留待大家自己体会吧。

相比热情的第一号协奏曲,《D大调第二大提琴协奏曲》并不知名,但却是绝对不能忽略的。这部作品作于1783年,和C大调协奏曲不属于同一时期的作品,在音乐风格上也有相当大的差别。据说这部作品是为海顿当时供职的艾斯特哈吉乐团中著名的大提琴演奏家克拉夫特所写的。整部作品充满着温婉、柔和的气质,显示出海顿温情的一面。
摘抄Amazon评论:
引用
Jean-Guihen Queyras, the cellist on this CD, makes less of a physical impression on stage. He often plays with his eyes closed and with his face merely a trance-like glow. All the energy goes into the bow and the fabulous fingers of his left hand on the neck of the cello. What he does with that left hand on the 'Finale-Allegro molto' of the C-major concerto is super-human, a level of sinisterity (in lieu of dexterity) unmatched by anyone. The low notes than he digs out of the lower strings of his cello are seismic in timbre and perfect in intonation. His tone doesn't get whiney as he scrambles 'up' the scale toward the alto register. Yes, he's playing a 'period' instrument, a cello strung as it would have been strung in the mid 18th C, but don't expect any 'apologetics' for the sake of authenticity. Queyras technically outplays any modern cellist on any recording. Combine that with the sensitive 'historically informed' performance of the Freiburger Barockorchester and you have a CD you'll want to hear often for the rest of your life.

Haydn's C-major Cello Concerto #1 was rediscovered in Prague in 1961. Since then it's become a staple of the repertoire. Haydn wrote it some time before 1765, when he was about thirty years old and in his early years at Kapellmeister at the Esterházy court. Ludwig van Beethoven was some five years short of birth at the time. (He was born in 1770. After you listen to Haydn's cello masterpiece, perhaps you'll form a notion of why I mention these dates.) Haydn's Second Cello Concerto in D-major was written and performed in 1783, roughly twenty years later. The two works are consummate summations, the first a consummate retrospective of the evolution of the Baroque concerto, the second a prescient musical vision of the potential of the concerto form to express the full spirit of the classical>romantic future.

The culminating moments of both concerti come in the several extended cadenzas -- passages for the cello alone, the whole orchestra awed, with bated breath, as the cellist displays his maximum virtuosity. These cadenzas, as played by Queyras, are more than musical gymnastics. They are powerfully emotional monologues. Since I'm not a cellist, I haven't seen the scores and I don't know how much of the cadenzas Haydn wrote out or how much has been left to the performer's musical imagination. Cellist readers, you might be so kind as to educate me. In any case, the cadenzas as recorded are the musical equivalent of seeing a trumpeter swan or riding a surf board for the first time.

The third concerto on this CD, by Georg Matthias Monn (1717-1750) is more than just a disk-filler. It's a charming energetic composition, structurally close to Vivaldi but already managing to sound like a work of the Viennese Classical school. It's the only Monn composition you're likely to hear, and that fortuitously, since Arnold Schoenberg approved of it and included it in his editing of the "Monuments of Austrian Music" in 1912.
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专辑曲目

01. Haydn: Cello Concerto #1 In C, H 7B/1 - 1. Moderato
02. Haydn: Cello Concerto #1 In C, H 7B/1 - 2. Adagio
03. Haydn: Cello Concerto #1 In C, H 7B/1 - 3. Allegro Molto
04. Haydn: Cello Concerto #2 In D, Op. 101, H 7B/2 - 1. Allegro Moderato
05. Haydn: Cello Concerto #2 In D, Op. 101, H 7B/2 - 2. Adagio
06. Haydn: Cello Concerto #2 In D, Op. 101, H 7B/2 - 3. Rondo: Allegro
07. Monn: Cello Concerto In G Minor - 1. Allegro
08. Monn: Cello Concerto In G Minor - 2. Adagio
09. Monn: Cello Concerto In G Minor - 3. Allegro Non Tanto

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