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Hélène Grimaud -《No.2 拉赫曼尼洛夫 : 第二号钢琴协奏曲》(Sergei Rachmaninov - Piano Concerto No.2, etc.)[FLAC]

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    古典类型全集作品
    发行时间2001年
  • 时间: 2013/09/03 00:42:23 发布 | 2013/09/03 10:40:54 更新
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专辑英文名Sergei Rachmaninov - Piano Concerto No.2, etc.
专辑中文名No.2 拉赫曼尼洛夫 : 第二号钢琴协奏曲
艺术家Hélène Grimaud
古典类型全集作品
资源格式FLAC
发行时间2001年
地区德国
语言英语
简介

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专辑介绍:

推荐一个版本的拉二,最为表现出拉赫马尼诺夫的黑色情绪

作曲家:Sergei Rachmaninov 拉赫曼尼诺夫
钢琴演奏家:Helene Grimaud (封面那个漂亮女孩)
指挥家:Vladimir Ashkenazy 阿什肯纳齐
演奏乐团:Philharmonia Orchstra

拉氐虽然是二十世纪的作曲家,可是他沿续的仍然是十九世由柴可夫斯基继承下来的浪漫传统,根据密尔斯坦的说法,他认为拉氐与柴氐的音乐,除了保有了肖邦音乐中的浪漫元素、李斯特大钢琴家的巨匠风范、最重要的是他们的旋律是俄罗斯式的悲切、哀伤、优美 而富於旋律化,虽然可能有的时候稍嫌冗长,但却是真挚情感的泛滥,听他们的音乐,不能用贝多芬那种德国式的逻辑去要求或衡量。

曾经一度有人批评拉氐的音乐只是多愁善感式的沙龙音乐,是专门讨好听眾的二流作品, 可是时至今日,他的名声却是愈来愈响亮,因为他的音乐中充满了真挚的情感,每个乐句 都是从心底深处发出来的,而能引起共鸣。

拉赫曼尼诺夫第二钢琴协奏曲号称历史上最广为流传的钢琴协奏曲也不为过,曾在伦敦古典广播电臺创下播放之最的纪录,许多伟大的钢琴演奏家都对它进行自己独到的詮释,包括鲁宾斯坦、拉赫曼尼诺夫本人、阿什肯纳齐,这裏的版本是阿什肯纳齐指挥,年轻的女钢琴家海莲娜的版本,由古典音乐厂牌中的佼佼者Teldec公司发行。

专辑名称:Rachmaninov - Piano Concerto No. 2
专辑类别:古典音乐1CD
发行公司:Teldec
发行日期:2001年5月

BBC五星

作者简介

伊莲.葛莉茉 Helene Grimaud

  1969年出生於法国南部的艾克斯.普罗旺斯(Aix-en-Provence),父母是义大利裔犹太人,有著北非、西班牙、科西嘉、犹太血统。

  她是国际知名的音乐家,成名的过程相当传奇。七岁才开始学琴,十三岁就经法国国立音乐学院评审全数通过,成为有史以来得到全数通过入学最年轻的学生;十四岁时背著学校自己安排协奏曲演出,并藉由那场演出录音签到唱片合约,唱片公司制作人当时甚至还不知道她的年龄;十五岁第一张灌录的拉赫曼尼诺夫作品专辑发行后,居然夺得法国年度唱片大奖。

  葛莉茉的演奏风格独树一格,触键果断有力,纤细的音乐性,散发独特的气质与魅力;儘管身材娇小,却偏好气势庞大的作品,尤其是德奥作曲家结构严谨、主题沉重的音乐,这也是她和传统法国钢琴家截然不同的特质,常和钢琴女王阿格丽希相提并论。

  她的生命奉献予两个热爱,一方面是音乐和世界各地的巡迴演奏;另一方面,她以函授方式修得动物行为学学位,积极参与野狼的生态保育,在美国纽约州创立专门保护狼的非营利教育组织「狼群保护中心」(Wolf Conservation Center),推广保育概念,每年接待许多儿童参观。对狼的喜爱和研究,让她被称为「狼女」。

  葛莉茉以其特立独行的性格与美貌,成为当代最受瞩目的女钢琴家,在全球各地举办的音乐会持续吸引满座的人潮。曾任《Vogue》模特儿,2007年开始成为万宝龙名錶、服饰、珠宝、眼镜等全球代言大使。於1990年搬到美国佛罗里达,随即搬到纽约州北部定居,现居瑞士。

  Wolf Conservation Center:www.nywolf.org

Hélène Grimaud / Rachmaninov* ‎– Piano Concerto No. 2 • Prelude • Etudes-Tableaux •Variations On A Theme Of Corelli
Label:Teldec Classics ‎– 8573-84376-2
Format:CD, Album
Country:Germany
Released:2001
Genre:Classical
Style:Romantic

引用
Release Date 2001
Duration 01:04:43
Genre Classical
Styles Concerto Keyboard

Piano: Hélène Grimaud
Philharmonia Orchestra London
Conductor: Vladimir Ashkenazy

Work: Concerto for Piano no 2 in C minor, Op. 18

About This Work
Rachmaninov composed this work in 1900, and played the first complete performance on November 9, 1901, with Alexandre Siloti conducting the Moscow Philharmonic Society.

He suffered a shattering career crisis in the 1897 massacre of his First Symphony in St. Petersburg, by its first conductor, Glazunov, who was reportedly disablingly drunk -- a fiasco the critics en masse, led by César Cui, laid at the composer's feet like an animal carcass. The audience -- ever mindful that Rachmaninov had been expelled in 1885 from the local temple of musical instruction -- listened stonily, glad for the failure of a young lion schooled elsewhere (in Moscow, he completed the Conservatory course in 1891, and graduated a year later with highest possible grades). Because of the failure of the Symphony No. 1, Rachmaninov began to drink immoderately. Believing himself unfit to compose, he tried concentrating on parallel courses as a concert soloist and opera conductor, but embroiled himself in a love affair that ended very badly. By the end of 1899, he was an alcoholic whose hands shook, imperiling his keyboard career. Between January and April 1900, Sergey Vassilyevich saw Dr. Dahl, a Moscow specialist in "neuropsychotherapy," daily, and was urged under hypnosis to compose the new piano concerto that a London impresario was asking for. Trance therapy roused the composer from his lethargy; indeed, he worked with great facility on an excellent new concerto -- the Second, in C minor, Op. 18 -- dedicated to Dr. Dahl in gratitude. Never again in the remaining four decades of his life was Rachmaninov immobilized by depression, despite several convulsive changes of fortune.

The opening, C minor, movement in sonata form was composed last; structurally it is the most conventional. Ten bars of unaccompanied keyboard chords lead directly to a palpitant principal theme for violins, violas, and clarinets -- motivic rather than tuneful, despite a melismatic extension for cellos. An episode links this to the second theme, in E flat, one of Rachmaninov's most celebrated melodies, introduced by the piano. Following the development and a maestoso alla marcia reprise, there's a brilliant coda -- but no solo cadenza, yet.

In the E major, Adagio sostenuto movement, after four bars of Tchaikovskian string chords, piano arpeggios introduce a two-part principal theme, played first by the solo flute, then by the solo clarinet. Piano and orchestra develop both parts before a Tchaikovsky-like theme for bassoons nudges the tempo a bit. Further development goes even quicker, culminating in a solo cadenza that's been teasingly postponed, after which the original material returns, soulfully.

The finale is an Allegro scherzando in C major. The strings play a rhythmic figure that builds to a staccato climax. The piano enters with a flourish, setting up the principal subject -- again, as before in I, motivic rather than tuneful, but admirably constructed for developing. This is followed by another of Rachmaninov's signature melodies, lushly undulant, sung by the solo oboe and strings. (In the postwar 1940s, this was garnished with words and performed unrelentingly by big-band vandals as Full Moon and Empty Arms). A fugato brings back the principal subject, followed by a Maestoso statement of "The Tune." Accelerating fistfuls of piano chords set up a crowd-rousing conclusion.


引用
5.0 out of 5 stars Refreshing and Interesting! May 15, 2001
By A Customer
Format:Audio CD
Some of the greatest pianists of the 20th century have given us stand-out recordings of Rachmaninov's 2nd Piano Concerto. That stellar group must include Artur Rubinstein and Van Cliburn, who each offered rousing performances with Fritz Reiner and the Chicago Symphony Orchestra. Sviatoslav Richter's 1959 recording with Stanislaw Wislocki and the Warsaw Philharmonic remains powerful, commanding, and, for some, definitive. Outside this group, many recordings have a certain tedious familiarity, but I have to disagree with Dan Davis, who puts this effort by Helene Grimaud and Vladimir Ashkenazy in the mass of undistinguished or "pedestrian" recordings. The key to the great recordings seems to be the ability of pianists like Rubinstein, Cliburn, or Richter to stand up against Rachmaninov's magnificent orchestral score, one that has overpowered the playing of many others including Evgeny Kissin, Gary Graffman, and Earl Wild. Rather than competing on that level, Grimaud and Ashkenazy take a radically different hold on the concerto, one that is fresh, interesting, and substantially different from Grimaud's first recording in 1993. Ashkenazy's "fussy conducting" in fact contains the orchestra and allows Grimaud the dominant voice in the concerto. Grimaud responds with a breathtaking but subtle performance, combining lyrical beauty, sensitivity, and remarkable clarity. In the notes to the CD, Grimaud speaks of the "different kind of freedom" possible in working with a conductor who is an accomplished pianist and it certainly shows in this recording. Given the choice of only one version, I would still choose Richter's 1959 recording - fortunately, I don't have to make that choice. Anyone who has grown weary of "samey" recordings should enjoy this refreshing interpretation by Grimaud and Ashkenazy.
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10 of 11 people found the following review helpful
5.0 out of 5 stars Among Grimaud's Finest Concerti Recordings June 16, 2001
By John Kwok HALL OF FAMEVINE VOICE
Format:Audio CD
I wasn't certain why Grimaud chose to record again Rachmaninov's 2nd Piano Concerto, since her earlier recording with Lopez-Cobos conducting the Royal Philharmonic is still in print. Yet I was truly amazed with her latest release. Unlike Richter and others who have emphasized the dramatic qualities of Rachmaninov's score, here she opts for a more subtle, lyrical approach; contrary to what a reviewer wrote, she succeeds admirably. Ashkenazy's "fussy" conducting and the Philharmonia's magnificient playing yields an orchestral performance that is definitely better than the Royal Philharmonic's. Indeed, I agree with a previous reviewer who notes how Ashkenazy's conducting ensures that Grimaud is the star of this performance. Her playing of Rachmaninov's solo piano pieces is as subtle and lyrical as her performance of the concerto; of these undoubtedly the best is the Corelli Variations. Hopefully Ms. Grimaud will soon commence recording the rest of Beethoven's, Brahms' and Rachmanionv's concerti.


Companies etc

Record Company – Warner Music Group
Manufactured By – Warner Music Manufacturing Europe
Phonographic Copyright (p) – Teldec Classics International GmbH
Copyright © – Teldec Classics International GmbH
Recorded At – Watford Colosseum
Recorded At – Teldec-Studio, Berlin

Credits

Composed By – Sergei Rachmaninov*
Conductor – Vladimir Ashkenazy
Coordinator [Production] – Martina Gottschau
Design [Cover] – Sandra Kaiser
Edited By [Digital Editing] – Andreas Florczak (tracks: 1 to 3), Christiane Voitz (tracks: 8), Jörg Mohr (tracks: 4 to 7)
Engineer [Assistant] – Christiane Voitz (tracks: 8), Jörg Mohr (tracks: 1 to 7)
Engineer [Recording] – Andreas Florczak (tracks: 8), Eberhard Sengpiel (tracks: 1 to 7)
Executive-producer – Wolfgang Mohr
Liner Notes – Andreas Wehrmeyer, Sabine Schneider
Liner Notes [Translations] – Hélène Ménissier*, Jean-Claude Poyet, Stewart Spencer
Management [Product Manager] – A. Katrin Steinfatt
Orchestra – Philharmonia Orchestra
Other [Booklet Editor] – Jens Schünemeyer
Photography By [Cover] – Corbis Outline, Norman Jean Roy
Piano – Hélène Grimaud
Producer [Recording] – Friedemann Engelbrecht
Technician [Steinway Piano Tuner] – Denijs de Winter (tracks: 1 to 3), Serge Poulain (tracks: 4 to 8)

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专辑曲目

Piano Concerto No. 2, Op. 18 In C Minor
1. Moderato 11:32
2. Adagio Sostenuto 11:57
3. Allegro Scherzando 11:49
-
4.Prelude, Op. 32, No. 12 In G Sharp Minor: Allegro 2:54

Etudes-Tableaux, Op. 33
5.No. 1 In F Minor: Allegro Non Troppo 3:06
6.No. 2 In C Major: Allegro 2:58
7.No. 9 In C Sharp Minor: Grave 2:48

Variations On A Theme Of Corelli, Op. 42 (17:37)
8a Theme
8b Var. I: Poco Più Mosso
8c Var. II: L'istesso Tempo
8d Var. III: Tempo Di Minuetto
8e Var. IV: Andante
8f Var. V: Allegro (Ma Non Troppo)
8g Var. VI: L'istesso Tempo
8h Var. VII: Vivace
8i Var. VIII: Adagio Misterioso
8j Var. IX: Un Poco Più Mosso
8k Var. X: Allegro Scherzando
8l Var. XI: Allegro Vivace
8m Var. XII: L'istesso Tempo
8n Var. XIII: Agitato
8o Intermezzo
8p Var. XIV: Andante (Come Prima)
8q Var. XV: L'istesso Tempo
8r Var. XVI: Allegro Vivace
8s Var. XVII: Meno Mosso
8t Var. XVIII: Allegro Con Brio
8u Var. XIX: Più Mosso. Agitato
8v Var. XX: Più Mosso
8w Coda: Andante

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