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Julia Fischer / Daniel Müller-Schott / Jonathan Gilad -《孟德尔颂 钢琴三重奏》(Felix Mendelssohn Bartholdy - Piano Trios Nos. 1 & 2)[FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2006年
  • 时间: 2012/07/28 09:17:04 发布 | 2012/07/28 10:52:23 更新
  • 分类: 音乐  古典音乐 

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精华资源: 2006

全部资源: 2007

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专辑英文名Felix Mendelssohn Bartholdy - Piano Trios Nos. 1 & 2
专辑中文名孟德尔颂 钢琴三重奏
古典类型全集作品
资源格式FLAC
发行时间2006年
地区美国
语言英语
简介

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专辑介绍:

★法国Monde de La Musique杂誌大奖
★2006年10月英国留声机杂誌编辑严选专辑Editor’s Choice
★DSD Recorded

  1983年出生於慕尼黑的德国女小提琴家茱莉亚‧费雪,父亲是来自东德的数学家,母亲则是来自斯洛伐克的德国人。茱莉亚四岁不到就开始学小提琴,稍长也随母亲学钢琴。她先在奥格斯堡(Augsburg)的雷欧帕德‧莫札特音乐院接受正式音乐教育,九岁获准进入慕尼黑音乐院,在教授Ana Chumachenco门下学琴。茱莉亚在青少年时期曾参加过许多音乐比赛,最受人瞩目的就是1995年的国际曼纽因音乐大赛,她以十二岁之龄拿下青少年组第一名,同时获颁最佳「巴哈独奏作品」特别奖。接下来五年茱莉亚参加多项比赛更是屡获佳绩,之后她的足迹遍佈欧洲各地,和她合作的指挥与乐团也相当多。2003年茱莉亚在大师马捷尔带领巴伐利亚广播交响乐团之下在卡内基首度登台,终场获得全场起立致意的最高荣耀。此外,茱莉亚也是英国留声机Gramophone杂誌2007年的年度最佳艺人。

  2004年,茱莉亚‧费雪在PentaTone Classics旗下录制首张个人专辑「俄罗斯小提琴协奏曲辑 (PTC5186059)」,发行之后大获好评,并获得留声机杂誌2005年一月号的「编辑严选专辑Editor’s Choice」,也入选美国TAS发烧天碟。自此茱莉亚在演奏舞台之外,展开一帆风顺的录音工作。到2010年为止,她在PentaTone已发行十张录音,曲目包括巴哈、莫札特、孟德尔颂、舒伯特、布拉姆斯和柴可夫斯基等作品,可说是张张精采,同时获得乐迷和乐评的青睞。

  孟德尔颂的室内乐作品中,除了知名的弦乐八重奏,他的两首钢琴三重奏也相当精采而动人。作於1839年的第一号,曾被舒曼讚誉为是继贝多芬之后最伟大的钢琴三重奏,此曲拥有令人倾心的优美旋律以及高雅而善感的意境。第二号则作於孟德尔颂逝世前两年的1845年,此曲激情与深刻更甚於前者,并题献给同为作曲家与指挥家的史博(Louis Spohr)。和费雪同样来自德国的大提琴家穆勒-修特,以及出生於法国的以色列籍钢琴家强纳森‧吉拉德,这三位年轻演奏家充满灵性的演奏,令人感受到的是高雅而深刻的诗情。(PentaTone/Lins)

曲目
1-4. d小调第一号钢琴三重奏Op.49
6-8. c小调第二号钢琴三重奏Op.66
小提琴:茱莉亚‧费雪Julia Fischer
钢琴:强纳森‧吉拉德Jonathan Gilad
大提琴:穆勒-修特Daniel Muller-Schott
录音:2006年

Felix Mendelssohn Bartholdy - Julia Fischer / Daniel Müller-Schott / Jonathan Gilad - Piano Trios Nos. 1 & 2

Label: Pentatone
Catalog#: PTC 5186 085
Format: CD, Album
Country: Europe
Released: 2006
Genre: Classical

This has to be one of the best discs of chamber music making I have ever heard and certainly one of the best recorded. Right from the moment that Daniel Müller-Schott opens the D minor trio one sense that this is really very special and the following entrances from Jonathan Gilad and Julia Fischer only confirm that feeling; despite all three being concert soloists in their own right, this is a real meeting of minds. This is playing that makes one sit up and take notice for all the right reasons; it certainly completely eclipses all other versions of this wonderful music I have heard.

The opening tempo of the D minor trio is perfectly judged, not too quick to rob the music of its inherent lyrical nature nor lacking in drama in the more heated moments, and the balance that the trio and PentaTone achieve is a marvel to behold - only live have I heard such a natural blend of instruments before today. In the Andante, such is the beauty and restrained passion of the playing that this music really tugs at the heart strings - it becomes a true song without words here. From this moment of rapt bliss, we are transported into the quicksilver world of the Scherzo and seldom can this have been played with such delicacy or vivaciousness; Gilad really shines with his self-effacing virtuosity here. As the twinkling piano part of the Scherzo fades in the memory, the drama of the opening movement returns in the Finale but without such gorgeous lyricism; this movement not only taxes the performers but unless it is well characterised it can be taxing for the listener too - not that there are any concerns here.

The C minor trio is equally successful and enjoys just as sensational playing as the earlier trio. The opening figuration's are built naturally to the climaxes and the players make magic out of seemingly less promising musical material than what opens the D minor trio which is then handed over beautifully to the glorious melody when it finally arrives. As in the earlier trio, the Andante provides balm for the senses and, after such an electrifying first movement, it is very much needed! A bustling Scherzo then provides Gilad to demonstrate his superb technique again but this time the notes are much more evenly spread out so Fischer & Muller-Schott also have a chance to shine here and they take this with both hands. As in earlier movements, the C minor trio places slightly emphasis on the pianist than in the D minor trio and the Finale is no exception; all three protagonists are called on to provide lyricism and virtuosity that is audibly facile which this team come up with ease. A wonderful conclusion to a great disc.

The recording, as we have come to expect, is excellent but I feel that this sets a new standard for PentaTone; rarely has any chamber music sounded so lifelike. Fortunately, this quality reflects the quality of the playing and the feeling is recalled of when I first heard MCH but I am now regularly "immersed" in beauty, so this is really something very special indeed (6 stars out of 5 would not be exaggerating the quality of either performance or recording!) Whilst the total playing is just shy of one hour - the pleasure lingers in the mind for a great deal longer (that's assuming that you can resist the temptation to start all over again).

Without a doubt, this is the best chamber playing I have heard all year and I cannot see how anyone would fail to warm to this music when given such loving performances as here which is complemented by the sensational recording. Tremendously exciting! Do not hesitate - buy this for yourself and anyone you know who loves chamber music as, even in "plain" stereo or (dare I say it) RBCD, you & they will surely love it as much as I do. John Broggio @ SA-CD.net

引用
review
[-] by James Leonard

It's official: Felix Mendelssohn Bartholdy has been rehabilitated. During his lifetime, Mendelssohn was considered the supremely skilled and wonderfully expressive epitome of the early Romantic composer. After his early death, however, Mendelssohn was eclipsed by the late Romantic excesses of Wagner, and then banned by the twentieth century genocidal excesses of the Nazis. But in the final years of the twentieth century, Mendelssohn was at last returned to his rightful position in the Romantic pantheon of composers. How can such things be measured? Simple: by the surfeit of recordings of Mendelssohn's music, especially of his chamber music. Arguably his most consistently impressive body of work, Mendelssohn's chamber music exhibits two of his best qualities as a composer: his formal balance and his intense but controlled expressivity. In this 2006 release of Mendelssohn's piano trios, violinist Julia Fischer, cellist Daniel Müller-Schott, and pianist Jonathan Gilad give both works tremendously persuasive performances. Although each young player is a virtuoso with his/her own solo careers, the performances here are amazingly cohesive -- check out the Second Trio's elfin Scherzo -- and obviously affectionate -- check out the First Trio's lyric Andante con moto tranquillo. While many listeners will already have their favorite performances of the trios, listeners who begin exploring Mendelssohn's chamber music with this disc by Fischer, Müller-Schott, and Gilad's piano trios will not go wrong. PenaTone's super audio sound is so transparent it doesn't exist -- only the sound of the instruments exists.


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专辑曲目

Piano Trio No. 1 in D minor, Op. 49 (1839)

1. Molto Allegro Agitato 9:34
2. Andante Con Moto Tranquillo 6:56
3. Scherzo-Leggiero E Vivace 3:30
4. Finale-Allegro Assai Appassionato 8:20

Piano Trio No. 2 in C minor, Op. 66 (1846)

5. Allegro Energico E Con Fuoco 10:32
6. Andante Espressivo 8:17
7. Scherzo-Molto Allegro Quasi Presto 3:26
8. Finale-Allegro Appassionato 7:57

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