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Viktoria Mullova - Ottavio Dantone -《巴哈:小提琴与大键琴奏鸣曲》(Johann Sebastian BACH (1685-1750) Sonatas)[2 CD Set][APE]

  • 状态: 精华资源
  • 摘要:
    古典类型奏鸣曲
    发行时间2007年07月10日
  • 时间: 2012/04/03 21:30:15 发布 | 2012/04/05 21:14:55 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Johann Sebastian BACH (1685-1750) Sonatas
专辑中文名巴哈:小提琴与大键琴奏鸣曲
古典类型奏鸣曲
资源格式APE
版本[2 CD Set]
发行时间2007年07月10日
地区美国
语言英语
简介

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专辑介绍:

这六首小提琴奏鸣曲作於1718-1722年间,是巴哈科登时期的作品。其知名度虽然无法和巴哈的无伴奏小提琴相提并论,但这些曲子正是附数字低音的古式小提琴奏鸣曲,与近代二重奏奏鸣曲之间的过渡作品,在音乐史上有其特殊意义。而它们充实的内容与深刻的表情,更是令人爱不释手。穆洛娃於1992年在钢琴伴奏下录制了第一、二、六号,相隔十五年后她选择以大键琴伴奏,并完成全曲的录音。在此她完全跳脱当年略显拘谨生涩的演奏,相对的以俐落果决的技巧,更为自由奔放的琴韵来表现。无可挑剔的录音与演奏,属於收藏级。(Onyx)

The six sonatas for harpsichord and violin are amongst the most popular pieces of chamber music by Johann Sebastian Bach. This is reflected by the number of recordings of these works. Recently no less than three new recordings were released, one of which by the famous Russian-born violinist Viktoria Mullova and the Italian harpsichordist Ottavio Dantone. It is not by coincidence that I mention them in this order: this is the hierarchy on the cover.

As these sonatas are very well-known there is no need to say that much about them. What is important here is to refer to the title of the sonatas: Sei Suonate a Cembalo certato è Violino Solo, col Basso per Viola da Gamba accompagnato se piace. Although the violin doesn't play a subservient role, it is clear from this title that the harpsichord has the lead in the partnership. The suggestion to use a viola da gamba to support the bass part - played by the left hand on the harpsichord - is very seldom followed. Here the viola da gamba is only used in two additional sonatas, as the track-list shows.

The clear indication of the title-page notwithstanding, it is the violin which attracts most of the attention here. The fact that the violin tends to dominate more often than not isn't just a matter of artistic decision. It is also a result of the recording technique. I am disappointed by the recorded sound, which is much too distant. I miss the intimacy that repertoire like this requires. The fact that the recording has taken place in a church is partly responsible for this. In particular at the end of a movement one hears a far too long reverberation.

There is another factor here. I wonder whether Mullova is playing a real baroque violin. According to the booklet she uses a Guadagnini from 1750. But its sound is quite different from other baroque violins I have heard on disc, among them those on two other recent recordings of the same repertoire. I suspect it has been re-engineered at some time to meet the demands of 19th century repertoire. Ms Mullova uses gut strings, but these don't turn a modernised violin into a baroque violin. In particular when Ottavio Dantone uses only one 8' register the harpsichord is no match for the violin.

Viktoria Mullova is a product of the Russian violin school, which concentrates on technical brilliance and the interpretation of romantic repertoire. After she defected to the West she discovered historical performance practice. She has worked with prominent representatives of this approach, among them John Eliot Gardiner and Il Giardino Armonico, often with wonderful results. But I have to say that her interpretation of these sonatas is disappointing.

In most movements there is too little differentiation between the notes and too much legato. As a result the adagio of the Sonata in f minor (BWV 1018), for instance, where the violin part is dominated by double-stopping, lacks contrast and is simply boring. I wonder why in some movements there are dynamic accents – like in the allegro of the same Sonata in f minor or the opening movement of the Trio Sonata BWV 525 – whereas they are very rare elsewhere. This is just one example of the lack of consistency in this interpretation.

Another issue with these performances is the fluctuation in the tempi of several movements. I don't think there is anything fundamentally wrong with that, and it can be used to increase the tension of a piece, on the basis of a thorough knowledge of baroque rhetorics and 'affetti'. The performances and recordings of the ensemble Musica ad Rhenum, for instance, show that tempo fluctuations can be used to great effect. But it shouldn't be exaggerated and should not be applied at random. Yet that seems to be the case here. The 'dolce' from the Sonata in A (BWV 1015) is the worst: the rhythm is hardly recognisable, and one would think the piece lacks measures. Towards the end it almost comes to a standstill. The 'adagio' of BWV 1014 begins in a tempo which is too fast for an adagio but then the tempo slows down. The reasoning behind it escapes me, and instead of increasing the tension it is plain annoying and way over the top. There is certainly no reason to increase the speed – which is generally too slow anyway – in the middle movement (for harpsichord solo) of the Sonata in G (BWV 1019).

In some movements the partnership between Dantone and Mullova does not work very well. 'Playing apart together' seems to be a suitable description of how some movements sound. In the opening movement of the Sonata for violin and bc in G (BWV 1021) Mullova, all of a sudden, uses more vibrato than elsewhere and certainly more than is justified by the needs of ornamentation.

There is very little in this recording which makes it recommendable. The Trio Sonata in C - originally written for organ solo - is played rather well, and so is the last movement of the Sonata in c minor (BWV 1017). Apart from the vibrato in the opening movement the Sonata BWV 1021 is one of the most satisfying items in this set.

But this is just not enough. This interpretation adds nothing useful to the catalogue.

Johan van Veen

曲目

CD-1
b小调第一号奏鸣曲BWV 1014
A大调第二号奏鸣曲BWV 1015
E大调第三号奏鸣曲BWV 1016
C大调小提琴与数字低音三声部奏鸣曲BWV 529

CD-2
c小调第四号奏鸣曲BWV 1017
f小调第五号奏鸣曲BWV 1018
G大调第六号奏鸣曲BWV 1019
G大调小提琴与数字低音三声部奏鸣曲BWV 1021

小提琴:穆洛娃Viktoria Mullova
大键琴与管风琴:丹东尼Ottavio Dantone
古大提琴:Vittorio Ghielmi (BWV 529 & BWV 1021)
鲁特琴:Luca Pianca (BWV 529 & BWV 1021)
录音:2007年

ONYX 4020
穆洛娃演奏巴哈:小提琴与大键琴奏鸣曲BWV1014-1019【2CDs】
Viktoria Mullova plays Bach: Sonatas for Violin & Harpsichord
小提琴:穆洛娃Viktoria Mullova
大键琴与管风琴:丹东尼Ottavio Dantone
古大提琴:Vittorio Ghielmi (BWV 529 & BWV 1021)
鲁特琴:Luca Pianca (BWV 529 & BWV 1021)
录音:2007年

Johann Sebastian BACH (1685-1750) Sonatas - Viktoria Mullova - Ottavio Dantone
2 CDs | DDD | TT: 54:05 + 59:22
Recording: Alte Grieser Pfarrkirche, Bolzano, Italy, 16-19 March 2007

Performers:

Viktoria Mullova (violin)
Ottavio Dantone (harpsichord; organ BWV1021,529)
Vittorio Ghielmi (viola da gamba) BWV1021, BWV529
Luca Pianca (lute BWV1021, BWV529)

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专辑曲目

CD 1 (54.05)

Sonata in B minor, BWV 1014 for violin and harpsichord
01. I Adagio 3.11
02. II Allegro 3.00
03. III Andante 2.55
04. IV Allegro 3.22

Sonata in A, BWV 1015 for violin and harpsichord
05. I Dolce 2.46
06. II Allegro 3.03
07. III Andante un poco 3.05
08. IV Presto 4.40

Sonata in E, BWV 1016 for violin and harpsichord
09. I Adagio 3.50
10. II Allegro 2.56
11. III Adagio ma non tanto 4.21
12. IV Allegro 3.48

Trio Sonata no 5 for violin and continuo in C, BWV529
13. I Allegro 4.24
14. IILargo 5.05
15. III Allegro 3.08

CD2 (59.22)

Sonata in C minor, BWV 1017 for violin and harpsichord
01. I Largo 4.24
02. II Allegro 4.32
03. III Adagio 3.07
04. IV Allegro 4.44

Sonata in F minor, BWV 1018 for violin and harpsichord
05. I Largo 7.44
06. II Allegro 4.36
07. III Adagio 3.03
08. IV Vivace 2.32

Sonata in G, BWV 1019 for violin and harpsichord
09. I Allegro 3.29
10. II Largo 1.36
11. III Allegro 4.37
12. IV Adagio 2.38
13. V Allegro 3.18

Sonata in G, BWV 1021 for violin and continuo
14. I Adagio 3.40
15. II Vivace 0.57
16. III. Largo 2.13
17. IV Presto 1.27

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