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Giuliano Carmignola -《维瓦第小提琴协奏曲》(Vivaldi Concertos)[FLAC]

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  • 摘要:
    古典类型协奏曲
    发行时间2006年
  • 时间: 2013/04/25 23:04:55 发布 | 2013/04/27 09:25:08 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Vivaldi Concertos
专辑中文名维瓦第小提琴协奏曲
古典类型协奏曲
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:

喜欢巴洛克小提琴和喜欢浪漫派小提琴的乐迷似乎总说不到一块,小提琴这件乐器虽然是在十八世纪巴洛克时代成熟的,但经过浪漫主义的塑造,它更多地属於帕格尼尼、门德尔松、勃拉姆斯、柴可夫斯基这些浪漫主义音乐大师,他们让小提琴发出浓厚抒情、激越深沈的如歌之声,那似乎才是小提琴应该有的声音。然而,二十世纪初肇始的古乐复兴运动把巴洛克小提琴风格和演奏法带回了音乐舞臺,二十世纪下半叶的唱片工业让远离欧陆的国内乐迷也欣赏到了本真运动的成果,发音明亮、偏薄、直接、不带揉弦,甚至是用羊肠线演奏的巴洛克小提琴对习惯浪漫小提琴耳朵来说,是个新鲜体验。浪漫小提琴拥有一大批如雷贯耳的大师名录,相对而言,巴洛克小提琴演奏家就羞涩很多,他们的名气大多限於专家、学院、小圈子乐迷。

但也有一个例外,他就是义大利小提琴家——朱裏亚诺.卡米诺拉(Giuliano Carmignola)。
当今小提琴演奏界,在现代小提琴和巴洛克小提琴两个领域内都堪称大师级人物的,大概只有义大利人朱裏亚诺·卡米诺拉了。卡米诺拉成名很早,七十年代初,他连续在好几个国际小提琴比赛中获奖,其中包括1973年的帕格尼尼比赛。曲目从巴洛克、古典、浪漫一直到现代二十作品。他是个现当代作品的专家,在义大利首演法国当代作曲家杜蒂裏耶的小提琴协奏曲。保留曲目单从维瓦尔第、贝多芬、斯特拉文斯基,一直到施尼特凯。

卡米诺拉拓宽领域是在八十年代,涉足巴洛克曲目,用仿古小提琴演奏。时至今日,卡米诺拉花一半时间在巴洛克音乐上,另一半则属於古典、浪漫和现代音乐。以这种身份闯荡乐坛的小提琴家,寥寥无几。国内不少巴洛克音乐老饕早就开始追捧这位明星。

卡米诺拉生於义大利北部的特莱维索,离威尼斯很近,14世纪,特莱维索曾被并入威尼斯公国,从这个意义上,卡米诺拉也可以称得上是个威尼斯人,维瓦尔第、塔尔蒂尼的后代。卡米诺拉上过小提琴大师米尔斯坦的大师班,在日内瓦音乐学院曾跟随小提琴大师谢林学习过。不过这个光辉的履历,并不能明确地解答卡米诺拉的风格到底来自哪里?卡米诺拉的演奏如此出神入化,富於表现力,让我们几乎要重新定义巴洛克小提琴留给人们的保守印象。

卡米诺拉演奏古乐一般用两把琴,一把十八世纪无名氏所制的小提琴,得自他家乡的音乐前辈艾普裏良(Angelo Ephrikian),Ephrikian曾在战后破译出一份维瓦尔第的手稿。另一把琴,由圭达图斯(Floreno Guidantus)在1793年制造。卡米诺拉非常喜欢这把圭达图斯琴,环球archiv首次录音使用的就是这把。他说:“用这把琴演奏巴洛克音乐真是绝妙极了,我想要的音色,它都能作出来。”录音中圭达图斯的音色非常华丽,变化多端,高音弦带有金属似的银亮色调。他演奏的巴洛克音乐一方面带有古乐器那种粗礪的质感,另一方面音色很亮,很优美,洛杉磯时报的一个评论很形象,说卡米诺拉的演奏兼有漫画家赫许菲尔德(Hirschfeld)那狂放随性的线条,以及雕塑家贾柯梅蒂(Giacometti)金属雕塑的枯瘦优雅。
卡米诺拉在义大利十八世纪巴洛克小提琴演奏领域如此成功,以至於演奏界将卡米诺拉视为一个分水岭,有“前卡米诺拉”和“后卡米诺拉”之说,意思就是自从有了卡米诺拉的样板,古乐小提琴再要想以前那样,一味追求发音古朴本真,而将演奏的技巧和说服力(rhetoric)放在第二位的思路,已经走不太通了。威尼斯音乐界的领袖人物马里奥.迈希尼斯(Mario Messinis)就持这样的观点,卡米诺拉打开了全新视野。

早在七十年代,卡米诺拉在罗马独奏家乐团(Virtuosi di Roma)演奏,后来他回忆说,当时演奏巴洛克曲目还是以甜美的发音、辉煌的技巧为主,浪漫式的演绎,压根没有什麽历史观念。从那时开始,卡米诺拉走了很长一段路,他说:“你要不停去发现新知,努力去接近真理。”

很多人,包括许多古乐演奏家都以为古乐演奏清规戒律很多,演奏家个性不强,卡米诺拉打破了这种成见。他说:“巴洛克协奏曲宽广的力量幅度,强有力的方向感,留给演奏家无穷的幻想与创造空间。在这个广阔空间裏,你大可以自由发挥,也不会超越古乐演奏风范。习惯了现代乐器,再以古乐方式演奏,是个很新奇的实验,你要掌握一套完全不同的字母表和语法。”很有趣,真正给古乐演奏带来革新的,却是一个先在现代小提琴领域上取得很高成就的艺术家,他杀入古乐领域,带来了令人耳目一新、振奋人心的古乐演奏。

最让我惊讶的是,卡米诺拉在演奏巴洛克小提琴音乐时的那种句法,丝毫没有老派小提琴大师演奏巴洛克音乐时习惯有的抒情大线条,那种饱满的抒情大分句好像可以无休止地延续下去,这完全来自浪漫主义音乐。卡米诺拉完全不同,即使在慢乐章中,他也把乐句很自然地断开来,气息做得比较短,有很强烈的呼吸感觉,很像一个演说者自然的话语间歇。不少巴洛克作曲家很在意将文法上的修辞手段化入音乐,卡米诺拉的演奏重新让我们体会到这一点。

在巴洛克协奏曲中,乐队和独奏的关係和浪漫主义时代协奏曲大不相同。如果把独奏比作雄辩的演说家,乐队比作演说家所面对的民众,那麽在巴洛克时代的协奏曲中,独奏演说家完全控制住了民众,乐曲的基调、节奏全由独奏掌控,就如同一个阶级秩序井然的等级社会,独奏与乐队之间是和谐一体的。而在法国大革命之后的浪漫主义协奏曲中,民众不再循规蹈矩,他们更像法国大革命中的暴民,演说者或许能暂时说服民众,但也有随时被颠覆的危险,独奏和乐队是衝突竞争的。根据这个比喻,横贯多个领域的卡米诺拉不愧为一个天才而雄辩的演说者。

专集名称:Carmignola - Vivaldi - Violin Concertos - Carmignola
专集演奏家:Giuliano Carmignola -
发行公司:ARCHIV
发行年份:2006


Performer: Giuliano Carmignola
Orchestra: Venice Baroque Orchestra
Conductor: Andrea Marcon
Composer: Antonio Vivaldi
Audio CD (July 4, 2006)
SPARS Code: DDD
Number of Discs: 1
Label: Archiv Produktion
ASIN: B000EULVZE

5.0 out of 5 stars Yes! He's arrived! November 21, 2007
By Giordano Bruno
Format:Audio CD|Amazon Verified Purchase
With so many headline Baroque violinists to choose from - Goebel, Biondi, Manze, Holloway, to say nothing of the second fiddlers in their various ensembles - Giuliano Carmignola has never been my first choice. His tone has always seemed blunt and his phrasing arbitrary, and there have been occasional tuning issues on other recordings. In fact, I just gave his performance of the 'Four Seasons' a fairly lukewarm review about a week ago. Well, with this performance of five glorious Vivaldi concerti, Carmignola has won me over by his sheer bravura. I can "hear" him standing before the orchestra like the Red Priest incarnate, flinging argeggios of demi-hemi-semiquavers like confetti. The tuning problems are gone. The phrasing seems capricious rather than contrived. Released in 2006, this is easily Carmignola's most impressive recording. To my mind, he's arrived.

The five concerti on this CD have never, according to the booklet, been recorded before. Vivaldi wrote at least 240 violin concerti, so the claim is plausible. None of them are familiar, and I've heard a lot of Vivaldi in my life. The amazing thing is that all five are exceptional. Even by Vivaldi's standards, they're eccentric and inventive, especially RV 190 in C major. If there are five more such masterworks still unrecorded - do you hear me, Giuliano? - I want them soon!

I can't wax so enthusiastic about the Venice Baroque Orchestra, however. Under the heavy baton of Andrea Marcon, the orchestra at times comes near spoiling my pleasure in Carmignola's fiery virtuosity. VBO seems to think that Vivaldi fans expect a big bow-wow most of the time, the kind of orchestral texture that can be enjoyed on a car radio in traffic. Perhaps it's the effect of studio recording, but I hear too little transparency and too much acoustic compression. Previous VBO disks have been spoiled for me by such a ponderous sound, but this disk is all about Carmignola, and he triumphs over his orchestral environment.

引用
Archiv Produktion provide five more of Vivaldi’s late violin concertos all said to be world-premiere recordings.

Carmignola and Marcon with their Venetian orchestra have since 2003 recorded exclusively on Deutsche Grammophon’s Archiv Produktion label. This issue follows on the heels of their three Sony Classical releases in the Vivaldi series of The Four Seasons SK 51352 and two albums of previously ‘unrecorded’ Vivaldi concertos on SK 87733 and SK 89362.

I believe this may prove to be the golden age for recordings of period-instrument Vivaldi. Undoubtedly the earlier pioneering interpretations of Vivaldi and late-baroque music in general using period-instruments were dictated by the severe limitations of their instruments. These must have felt so confining to the players; as if they were all wearing strait-jackets. Consequently the performance style often came across as technically mechanical, rather lacklustre, frequently insipid and even sterile.

A new generation of specialist performers, such as these explore and exploit the strength of their period-instruments rather than being restricted by the weaknesses. They are one of several outstanding specialist period-instrument ensembles that have come to prominence at the cutting-edge of the late-baroque scene in the last ten or so years.

Other notable specialist period-instrument ensembles who have produced excellent Vivaldi recordings include: the Concerto Italiano under Rinaldo Alessandrini; Europa Galante under baroque violinist Fabio Biondi; Arte Dei Suonatori under Rachel Podger on baroque violin; L'Arte dell'Arco under baroque violinist Federico Guglielmo; Ensemble Explorations under baroque cellist Roel Dieltiens; the Freiburger Barockorchester under baroque violinist Gottfried von der Goltz; The English Concert under baroque violinist Andrew Manze and baroque violinist Viktoria Mullova with Il Giardino Armonico under the direction of Giovanni Antonini.

Treviso-born Carmignola has been a professor of violin at the Venice Conservatory for over a decade. He is a leading exponent of the baroque violin style, particularly in Italian music of the 18th century. He is a stylish player; as stylish as the fine Romeo Gigli suits that he wears. Without any hint of pretentiousness professor Carmignola’s playing is classy and sophisticated with an innate serious professionalism, as displayed at a 2002 BBC Proms concert when disturbed by noise from a member of the audience he turned around and glared towards the perpetrator. Founded in 1997, with some of Italy's finest instrumentalists, the Venice Baroque Orchestra are directed by baroque scholar, organist and harpsichordist Andrea Marcon who leads the continuo. The Venetian orchestra focuses on Italian music of the seventeenth and eighteenth centuries, and the ongoing rediscovery of Italian Baroque opera.

Some two hundred and fifty of Vivaldi’s scores are violin concertos, making up well over a third of his prolific work-list. Apparently there are still a number of these that have not yet been recorded and this release includes claims for five such works. Vivaldi’s scores are all preserved in complete and reliable manuscripts in the massive collection at the Biblioteca Nazionale Universitaria of Turin and in every case have been published in a modern edition several decades ago. Vivaldi biographer Michael Talbot informs me that he believes there is no special reason why these concertos should not have been recorded previously; if that is actually the situation.

The diversity of Vivaldi’s writing is astonishing: the Violin Concerto RV 217 begins with a fugato and RV 325 exploits the device of echo effects. The opening tutti of RV 190 recalls a French overture with its dotted rhythms, while containing a highly contrastive episode in C minor which, remote and contemplative, is not taken up again in the course of the movement. Elsewhere, Vivaldi creates a chiaroscuro effect by his use of modal harmonies in the ritornellos of RV 190, 217 and 331. In RV 190 and 217 he avails himself of contrasting tempos, and in RV 325 he tricks the listener with his extreme modulations. In the ritornello of the final movement of the RV 217 he creates the effect of pealing bells by means of a rapidly repeated syncopated note at the fifth, an idea also found in his cantata RV 682 in a passage that describes a desperate lover who despairs of seeing his constancy rewarded.

Vivaldi’s variety of accompaniments are also remarkable, the rhythmic invention, such as the triplet passages in RV 190, the many accents on the weak beats and, the extraordinary technical range of the soloist’s part, in which right hand and left hand alike are exploited to the full. These technical complexities culminate in RV 190 and 331, whereas the other concertos reveal a more clear-cut character: with its two movements marked Allegro molto, RV 325 suggests both exaltation and challenge, while RV 217 is theatrical, a buffa piece at the very limits of virtuosic and emotional grotesquerie. RV 303, finally, is markedly rustic in tone.

At ease with the technical demands of these scores Carmignola clearly loves this music and plays with a controlled power and expression expertly blended with a certain panache. The allegro movements are played with a smouldering vitality and an impressive boldness, yet constantly remaining stylish and polished. In Carmignola’s hands the slow central movements are lyrical and highly appealing, akin to sacred meditations with several episodes of outstanding beauty. These are interpretations that never over-characterise Vivaldi’s exciting range of emotions. Carmignola’s security of technique is astonishing and his 18th century anonymous Italian violin provides an attractive silvery tone. The soloist and the Venice Baroque Orchestra demonstrate that they have reached a supreme solidarity of ensemble. I was impressed with the colour and variety of Andrea Marcon’s continuo realisation with the harpsichord employed together with the lute.

The engineers are to be congratulated for providing a well balanced sound that is cool and clear. The high standard liner notes add to the excellent presentation of the release. Vivaldi lovers will not want to be without this beautifully performed and recorded release.

Michael Cookson


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专辑曲目

Antonio Vivaldi (1678 - 1741)
Concerto for Violin, Strings and Harpsichord in G minor, R. 331
01. 1. Allegro 4:19
02. 2. Largo 4:35
03. 3. Allegro 4:02

Concerto for Violin, Strings and Harpsichord in C, R. 190
04. 1. Allegro 5:41
05. 2. Largo 4:09
06. 3. Allegro 4:13

Concerto for Violin, Strings and Harpsichord in G minor, R. 325
07. 1. Allegro molto 3:32
08. 2. Largo 1:57
09. 3. Presto 2:03

Concerto for Violin, Strings and Harpsichord in D, R. 217
10. 1. Allegro 3:46
11. 2. Largo 3:36
12. 3. Allegro 3:37

Concerto for Violin, Strings and Harpsichord in G, R. 303
13. 1. Allegro molto 4:26
14. 2. Largo 4:08
15. 3. Allegro 3:46

Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon

Tiempo total de reproducción 57:50

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