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Jordi Savall -《巴赫:赋格的艺术》(J.S. Bach: The Art of Fugue)AliaVox[FLAC]

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  • 摘要:
    古典类型交响曲
    发行时间2001年10月09日
  • 时间: 2012/07/08 13:07:06 发布 | 2012/07/09 20:30:27 更新
  • 分类: 音乐  古典音乐 

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专辑英文名J.S. Bach: The Art of Fugue
专辑中文名巴赫:赋格的艺术
别名Die Kunst der Fuge
艺术家Jordi Savall
古典类型交响曲
资源格式FLAC
版本AliaVox
发行时间2001年10月09日
地区法国
语言德语
简介

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唱片公司:Alia Vox
唱片编号:AV9818A+B
录音制式:DDD
资源出处:原版CD抓轨(FLAC+CUE)

专辑介绍:

  过去二十年来,所有带动音乐复苏的人当中,约第‧沙瓦尔(Jordi Savall)这位维奥尔提琴奏家、指挥家、研究学者与教师,可说是复兴古乐的先锋。他和蒙赛拉.菲格拉斯以及卞塔鲁亚皇家教堂(Hesperion、 Capella Reial de Catalunya)及卞塔鲁亚皇家合奏团(Le Concert des Nations)这几个乐团,建立了一份让人印象深刻的唱片目录,以其多样性、品质、数量和原创性而令人望尘莫及。
  沙瓦尔的琴音有著如丝和天鹅绒般的音色。他的雅致和细腻、敏锐,是今日世上无人能匹敌的。他自创品牌AliaVox以来,已发行20张专辑,并荣获无数国际大奖。他的夫人蒙赛拉.菲格拉斯(Montserrat Figueras)不但是沙瓦尔生活上的好伴侣,更是AliaVox的重要幕后功臣之一。
  创立AliaVox这个新品牌的目的,便是在彰显约第‧沙瓦尔、蒙赛拉.菲格拉斯以及他们的合奏团体在音乐复兴上的特质:对基本曲目的选择性研究、奠基於原始资料来源;根据每一时期的风格与技术规范重新诠释概念;而最重要的,身为我们这个时代的艺术家,对那些曾被不公平地遗忘的曲目和乐器,均有著不妥协而严谨对待的责任。
  约第‧沙瓦尔於1941年生於巴塞隆纳(Barcelona)的伊瓜拉达(Igualada)。在六岁时即已开始了他的音乐事业:在他故乡的合唱团的细心照顾下,累积了音经验、练习与训练,并於1965年於「巴塞隆纳高级音乐学院」(Conservatori Superior de Musica de Barcelona)完成了音乐与大提琴教育。在探究新的领域时,他很快地便了解到古乐的重要性…有重新评估几乎被遗忘的乐器,如古大提琴(viola da gamba)的需要,以及重要而鲜为人知的伊比利半岛(Iberian Peninsula)的音乐遗产。自1968年起,他便在瑞士的Scho La Cantorum Ba Siliensis接受训练,并於1973年成为他的老师奥古斯特温辛格(August Wenzinger)的接班人。
  从1970年开始,他灌录唱片以演奏音乐大师的大提琴小品而广为大众所知,并很快地为国际乐评公认为最了不起、最具天赋的古大提琴演奏家。他对於挖掘已被遗忘的作品乐此不疲,并且1974年至1989年间创立了不同的合奏团,因此而演奏了相当广泛的曲目,包今了中世纪至十九世纪初的乐曲。1974年,他与女高音蒙赛拉.菲格拉斯(Montserrat Figueras)和几位来自不同国家的音乐家们合组了晚星20古乐团,这个古乐合奏团很快地便以其特的音乐活力及最佳的历史精确度的新观念独树一帜,而成为演奏方面的先导。
  他在1987年返回巴塞隆纳时,创立了La Capella Reial De Catalunya,这个由独唱家与声乐团所组成的团体,其目标即在於演唱1800年前的音乐。
  由约第‧沙瓦尔所指挥的最年轻的团体,则是创立於1989年的LE CONCERT DE NATIONS,这个巴洛克与古典时期的乐团团员,主要都是来自南方国家的年轻音乐家,而目都专擅於演奏巴洛克与古典时期的乐器。
  约第‧沙瓦尔已被一致公认是现今最重的古典演奏家之一是他这一祌中最多才艺的音乐家:维奥尔(Viol)提琴演奏家家,以及风格清楚的创建者,他的音乐会、教育与研究,使他列身目前重新评估历史音乐的主要建构者之一。藉由他对艾伦.可(Alain Corneru)的电影〝日出时让悲伤终结〞(该片曾荣获七项凯撒奖,其中一项即为最佳电影配乐)的不可或缺的贡献,他证明了古乐并非只限於精英份子或少数人所能欣赏,而是能吸引愈来愈多的年轻人及更多的听众。这陪电影的原声带在法国及国外均获得压倒性的成功。

唱片简介:

引用
This recording, originally released some 15 years ago, was a catalogue landmark at the time. Jordi Savall's arrangement of the Art of Fugue was bold and unique, and his scoring, for two instrumental groups (four winds and four viols), was innovative. It has withstood the test of time, and has now been re-released in a remastered version, in new packaging, on Savall's AliaVox label.

Bach's Art of Fugue, is, as Jordi Savall says in his liner notes, "a work full of mystery". Originally written in open score - that is, each voice on a separate stave - it has traditionally been played on harpsichord or other keyboard instruments. It is a compendium of fugues and canons, all based on the same subject, with an unfinished fugue at the end. There has been much speculation about the order of the pieces - about whether Bach intended to finish the final fugue (which ends at a point where the composer has "written" his name, the notes B-A-C-H (b natural) being played).

However one may approach this work, whether on harpsichord (there are excellent recordings by Davitt Moroney and Robert Hill, to mention only two) or on organ (André Isoir's recording stands out here), or in an orchestral arrangement (Reinhard Goebel's recording has long been one of the best, in addition to the current disc), a great deal of liberty is available to the interpreter. Since Bach did not specify which instrument(s) this work is to be played on, one can arrange it in any way. Some excellent orchestral versions have been recorded, as have some real flops.

Savall adopts a minimalist approach - two groups of four musicians are used: wind group, with a cornet, oboe da caccia, tenor trombone and bassoon, and a string group, with a quartet of viols. This gives what is probably the most distinctive texture among the many orchestral recordings. Both intimate, because of the limited number of instruments, and haunting, because of their combination, this is a perfect arrangement. It stands as one of the most beautiful recordings of this work.

Savall's choice of which group plays each fugue depends both on the music itself and on the surrounding fugues. There is sometimes an alternation from one fugue to the next, and sometimes, such as in the two versions of Contrapunctus 12, the same group (here the viols) plays both. The sound that comes from these instruments highlights the mysterious, mystical nature of the music, and maintains a tension throughout the work that a harpsichord alone cannot manage.

There are a few pieces, such as the Canons 14 and 15, where even fewer instruments are used. These two works, scored for two viols, are magnificent in their Spartan sound, each viol playing one of the two lines of the canon, blending perfectly.

Some of the most moving pieces - and, in this recording, moving is indeed the word to describe the feeling this music arouses - use all eight instruments together. The long Contrapunctus 11 (the triple fugue) and the unfinished Contrapunctus 18 are two examples of this. Not only do the two groups marry perfectly, but Savall's brilliant arrangement has the instruments each speaking as in a strictly organized discourse, with their tones fitting in perfectly for each phrase they declaim. The lush texture of these works, especially the final fugue, is memorable; the tone colours attained by the use of these particular instruments is unforgettable. The beginning of the final fugue, for example, has some of the most poignant sounds I have ever heard, through the progressive entry of the four winds. It almost sounds as though Bach actually scored the work for these instruments - the texture is so perfect, so ethereal, that one is deeply moved. When the strings join in perfect harmony with the winds, the sound becomes so rich and full that one cannot imagine this work being played on other instruments. And this fugue ends with the viols alone, in a mirror image of its beginning.

By this point, you have probably understood that, for me, this is one of the finest recordings of this magnificent work. Together with Savall's new recording of Bach's Musical Offering (what Savall calls Bach's Testament), these two works bear witness not only to Bach's genius, but also to Savall's deep understanding of these works.


http://avaxhome.ws/hraphile/mlp_dvda/bch_at_fg_hr.html

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专辑曲目

Disc 1:
1. Contrapunctus 1
2. Contrapunctus 2
3. Contrapunctus 3
4. Contrapunctus 12A
5. Contrapunctus 12B
6. Contrapunctus 4
7. Canon 17 Alla Duodecima In Contrapunto Alla Quinta
8. Canon 16 Alla Decima Contrapunto Alla Terza
9. Contrapunctus 5
10. Contrapunctus 6 In Stylo Francese
11. Contrapunctus 7 PerAugment. Et Diminut.

Disc 2:
1. Contrapunctus 8
2. Contrapunctus 9 Alla Duodecima
3. Contrapunctus 10 Alla Decima
4. Conrapunctus Inversus 13B
5. Conrapunctus 13A
6. Conrapunctus 11
7. Canon 14 Per Augmentationem In Contrario Motu
8. Canon 15 Alla Ottava
9. Contrapunctus 18 - Fuga A 3 Soggetti

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