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Martha Argerich -《萧邦:前奏曲集》(Frédéric Chopin - 24 Préludes Op.28)[FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型全集作品
    发行时间1991年06月14日
  • 时间: 2012/09/06 12:35:21 发布 | 2012/09/06 17:31:22 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Frédéric Chopin - 24 Préludes Op.28
专辑中文名萧邦:前奏曲集
艺术家Martha Argerich
古典类型全集作品
资源格式FLAC
发行时间1991年06月14日
地区德国
语言英语
简介

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专辑介绍:

★ 钢琴女狮王阿格丽希70年代中期经典录音

★ 萧邦的「前奏曲集」终极詮释版本之一!

对现在的乐迷来说,萧邦的曲目可能与阿格丽希很难联想在一起,不过,您可别忘了1965年时年24岁的阿格丽希就是因为夺得华沙萧邦大赛的首奖而扬威国际乐坛。而这份在DG的录音也成为萧邦「前奏曲」的定版之一,阿格丽希所立下的典范牢不可破,甚至连她自己都没有再灌录过这套曲目。受到巴哈的48首前奏曲与赋格的影响,年轻的萧邦也尝试以12首大调与12十二首小调写下属於浪漫乐派的24首前奏曲,为「前奏曲」开创了一条全新的道路,成为完全表现音乐家个人的一种新形式。这24首前奏曲完成於1838年冬天,可说是萧邦成熟时期的代表作,涵盖他各式各样的创作风格。阿格丽希不愧是华沙萧邦大赛的得主,她不但充份发挥自己奔放的个性,触键也富有绝佳的诗意。

Performer: Martha Argerich
Composer: Frederic Chopin
Audio CD (June 14, 1991)
Number of Discs: 1
Label: Deutsche Grammophon
ASIN: B000001GEC

Label:Deutsche Grammophon – 00289 477 8380
Format:CD
Country:Germany
Released:2009
Genre:Classical
Style:Romantic

23 of 23 people found the following review helpful
5.0 out of 5 stars The Preludes as a Lightning Bolt April 16, 2005
By Jeffrey G. Jones VINE™ VOICE
Format:Audio CD|Amazon Verified Purchase
Every pianist knows the Chopin Preludes, which stand even among his rich output as a cycle of unusually outstanding beauty, variety and mastery of chromaticism. They are played badly by so many novices, and indifferently by so many aspirants, that it is easy to make them sound stale. But Argerich's version has stood aside from all of that hubbub. It has been controversial since the beginning, with her most ardent admirers balanced by some equally militant detractors.

Is Argerich really defiling Chopin, as so many might suggest? I don't think so. Actually, I think that she succeeds brilliantly in making these pieces seem like just what they were in their time - groundbreaking.

Chopin experienced the thrill of treading into unknown waters, exploring obscure and uncharted parts of the human psyche, and bringing it all up to the surface with the utmost concision. I cannot imagine how proud Chopin must have felt to have produced such a creation from his own pen. And it is extreme music - extremely rich, extremely stark, extremely happy, extremely sad, extremely advanced, extremely conservative. To Chopin's contemporaries, they seemed to come from nowhere, like a bolt of lightning. A soundscape as blindingly intense as the F-sharp minor Prelude still seems more like the music of another planet (to borrow a comment from Arrau about Debussy). Is it not appropriate, then, for Argerich to play them with the appropriate extremes of volume, of tempo, of warmth and coolness?

Yes, I'm biased. Yes, there are some wrong notes in the B-flat minor Prelude (which certainly don't detract from the seemingly infinite power displayed) and there a few other places where newer editions, the Jan Ekier in particular, have made Chopin's intentions more clear. But the combination of burning, passionate music and burning, passionate pianist is unmatched. When it stops thrilling me, then I'll know I'm dead.

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专辑曲目

Frédéric Chopin (1810 - 1849)

24 Préludes, Op.28
01. 1. in C major [0:30]
02. 2. in A minor [2:10]
03. 3. in G major [0:51]
04. 4. in E minor [1:52]
05. 5. in D major [0:31]
06. 6. in B minor [1:47]
07. 7. in A major [0:44]
08. 8. in F sharp minor [1:29]
09. 9. in E major [1:30]
10. 10. in C sharp minor [0:25]
11. 11. in B major [0:33]
12. 12. in G sharp minor [0:57]
13. 13. in F sharp major [2:45]
14. 14. in E flat minor [0:28]
15. 15. in D flat major ("Raindrop") [4:51]
16. 16. in B flat minor [0:59]
17. 17. in A flat major [2:50]
18. 18. in F minor [0:47]
19. 19. in E flat major [1:04]
20. 20. in C minor [1:32]
21. 21. in B flat major [1:34]
22. 22. in G minor [0:35]
23. 23. in F major [0:43]
24. 24. in D minor [2:12]

Prélude No.25 in C sharp minor, Op.45
25. Sostenuto [4:02]

Prélude No.26 in A flat, Op.posth.
26. Presto con leggierezza [0:40]

Piano Sonata No.2 in B flat minor, Op.35
27. 1. Grave - Doppio movimento [6:40]
28. 2. Scherzo - Più lento - Tempo I [6:04]
29. 3. Marche funèbre (Lento) [8:34]
30. 4. Finale (Presto) [1:26]

Martha Argerich

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