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Baiba Skride -《小提琴 贝芭‧丝凯德》(Baiba Skride Violin)[SACD-r]

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    古典类型全集作品
    发行时间2004年
  • 时间: 2013/09/09 20:18:05 发布 | 2013/09/11 16:34:18 更新
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专辑英文名Baiba Skride Violin
专辑中文名小提琴 贝芭‧丝凯德
艺术家Baiba Skride
古典类型全集作品
版本[SACD-r]
发行时间2004年
地区德国
语言英语
简介

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专辑介绍:

贝芭.丝凯德(Baiba Skride)

◎二○○五年的德国回声大奖年度青年艺术家得主
◎二○○一年伊莉莎白女王国际小提琴大赛首奖
◎继希拉蕊.韩之后最值得期待的新一代女小提琴家

容貌出众的拉脱维亚小提琴家贝芭.丝凯德(Baiba Skride)这几年在乐坛崛起所予人的印象,只能用“惊艳”两字来形容。

生于里加(这个城市对于华格纳创作《漂泊的荷兰人》甚具意义),2001年赢得伊莉莎白女王国际小提琴大赛首奖之后,先后以一七○八年和一七二五年的史特拉迪瓦里名琴(.Huggins 和Wilhelmj) ,接连和马捷尔、杜特华、布隆史泰德等重要指挥合作,受邀在萨尔兹堡音乐节、耶路撒冷室内音乐节等重要音乐节登台,也和基顿.克莱曼等音乐家活跃于室内乐,也曾与莱比锡布商大厦管弦乐团来台演出贝多芬小提琴协奏曲。二○○四年发行的小提琴无伴奏经典(收录巴哈、易沙意、巴尔托克小提琴作品),拿到了二○○五年的德国回声大奖年度青年艺术家得主。

贝芭.丝凯德从小在战乱中成长,小时还因此和姐姐走散,拉托维亚战祸绵延的局势,物资奇缺,食物、面包乃至糖都要靠配给,所幸父母亲都是音乐家,坚持给她完整的音乐教育。她从四岁就开始学琴,十四岁时,只身飞往美国游学一个月。这位只穿细肩带晚礼服演奏的小女生,除了练琴以外,也爱逛精品店和看电视影集“六人行”,但这一切都无碍她对音乐的强烈使命感,脖子上有一道明显的瘀青,始终都不会退去,说明了她对于自己手中音乐的狂热。



The Latvian violinist Baiba Skride won the 2001 Queen Elisabeth competition at the age of twenty. This is her debut recital for Sony, and probably the only SACD of her playing for the indefinite future, as her follow up has only been released on plain CD. She is an interesting complement to Sony’s long term house female violinist, Midori Goto. One wonders whether Skride was signed on to replace Hilary Hahn, who rather unwisely jumped raft to Universal.
It goes without saying that any new violinist who wins a recording contract possesses solid technique. Her tone production high up the stave is refreshing compared to Midori’s rather acerbic, even grating sounds ( most notably on the Sony CD/SACD release of the Mozart Sinfonia Concertante with Imai ), which even high resolution digital can only do so much to mitigate. On the basis of this disc, Skride’s tonal production is unlike fellow Latvian Gidon Kremer, who has a generally more wiry presentation, with greater flexibility in his bowing arm to produce a wider range of tonal shadings. Skride seems to lean more towards the Pinchas Zuckerman palette of rich but somewhat underinflected sound.
This disc is one of the most intelligently planned violin selections currently available. All are for unaccompanied violin, the opening Bach partita being the one with the famous Chaconne. Ysaÿe’s set of six solo sontas were published in 1924. The first, which is presented here, was dedicated to Szigeti, whose performances of Bach were renowned. This work’s four movement structure mimics the Bach solo violin sonatas. The Bartók has an opening chaconne, and was commissioned by Menuhin.
There is evidence of some sloppiness in Sony’s production values. This disc is claimed to be a ‘Co-production with DeutschlandRadio Berlin’. It is unclear whether this was actually recorded by the radio station for broadcast, and later bought up by Sony, as there is no multichannel layer. Skride is recorded very close to the microphones. This leads in stereo to the violin image being stretched beyond credibility between the speakers. The violin sounds at or in front of the level of the speakers, with little sense of depth. It sounds even closer than the sound RCA accorded Heifetz for his stereo concerto and mono Bach recordings! It is entirely to the fiddler’s credit that there isn’t more harsh grating when the bow hits the string. There is no detail as to the recording, which, based on the edge to the high notes sounds no better than 24bit/48 kHz PCM.
Sony have proved laudably immune to Skride’s looks, restraining themselves to only 1.7 photographs of her. This is in marked contrast to the soft core sex romp that the Universal art directors subject their artists to, with the exception of Thomas Quasthoff. In fact, for the back of the booklet, Sony prefers to show a shuttered window rather than her face. Thankfully there is no close-up of her shoes, which appear to have escaped from a Damien Hirst spot painting. There is a colour photo of her 1708 Strad, and very nicely varnished it looks.
The Bach partita sounds quite different from Julia Fischer’s complete set. However, in large measure this is due to the different recording styles. Compare the two, and one appreciates the beautiful sound PentaTone commissioned for Fischer, who plays inside a supportive acoustic. Fischer has a slower and more gracious sarabande. Skride has a massive chaconne which is a good half a minute slower than Fischer, who doesn’t exactly zip through it herself. The only slower chaconne than Skride’s I know of is Ida Haendel’s. Fischer’s performance of the entire partita sounds more dance like, whereas Skride is powerful and deliberate, though to her credit the entire performance is impressive in its monumentality rather than turgid. Neither player has any intonation problems, although artistically one can’t say the Chaconne in either of their hands is on the same exalted level as Grumiaux, Menuhin, Heifetz, Szigeti, or Perlman. In large measure the reason is the same for both, where the brief bridging passages which lead from one variation to the next aren’t inflected with the slight but telling changes in tempo or bow strength which lead to the sensation of cumulative musical growth. Skride’s default mechanism for delivering architectural vision is ‘play loud-loud-louder’, which isn’t quite the same concept of continuity.
As I don’t know the Ysaÿe work, I’ll refrain from comment, except to say her performance is consistent in style and execution to the Bach, but as there are fewer compositional moments of magic, Skride’s confident and broad brush manner sounds exactly appropriate. The tough and elusive Bartók is the highlight, where the close bordering on oppressive sound adds rather than detracts from the music and performance style. Her timings for the four movements are : 10’16, 4’49, 7’30 and 5’12. These are mentioned because when Menuhin played it for the composer, he revised the estimated performance length to 24 minutes. Nigel Kennedy’s version is even slower than Skride’s. The couple of times I’ve heard this live, both fiddlers from memory appeared to take the piece at a faster clip than Skride. Her performance is full-blooded, monumental rather than folksy or witty the way Menuhin inflected certain passages whilst he still retained the overall sensation of Bachian dignity. The hushed ‘night music’ opening to the final presto doesn’t steal into the consciousness because of the close recording. Nevertheless, an impressive performance which I found more idiomatic than Kennedy’s.
Copyright © 2006 Ramesh Nair and SA-CD.net

SACD Info:
Baiba Skride – Bach Bartok Ysaye
Label: Sony Classical
Catalog#: SK 92938
Format: Hybrid-SACD, Album, Stereo
Country: Germany
Released: 2004
Genre: Classical

引用
「贝芭.丝凯德的詮释无比地聪颖慧頡,她熟练精湛的琴技,将柴科夫斯基小提琴协奏曲的情感面充分地展现出来。她的琴音饱满扎实,能够完美自在地驾驭,每段乐句从头到尾都自然流露出高超的音乐悟性,从容不迫地明确开始,思绪縝密且深具说服力。」-《国际唱片评鑑》


现年20多岁的贝芭.丝凯德,已经与许多乐团合作演出,包括巴伐利亚广播交响管弦乐团、墨尔本交响乐团、慕尼黑爱乐、莱比锡布商大厦、苏黎世市政厅、巴黎、爱乐、费城、休士顿、辛辛那提、底特律、伦敦爱乐、市立管弦乐团等美国知名乐团。贝芭.丝凯德经常合作的指挥家,包括了查尔斯.杜特华、提瑞.费雪、马瑞克.亚诺夫斯基、帕佛.贾维、尼姆.贾维、米凯尔.普雷特涅夫、约翰.史托加德等人,而常与她一起演出的伙伴,像是米柯.法兰克、安德里斯.尼尔森斯,以及奇瑞尔.彼得连科等人。


2009年夏,贝芭.丝凯德首度参加爱丁堡国际音乐节,与英国国家广播公司苏格兰交响管弦乐团和唐诺.鲁尼克斯一起合作演出。她也二度出席德国莱茵高音乐节,皆与皇家斯德哥尔摩爱乐管弦乐团与沙卡利.欧拉莫同台演出,同时贝芭.丝凯德也以室内合奏团成员的身分,并以参加中德国家广播夏日音乐节作为首站的巡迴演出。


贝芭.丝凯德在2009/10乐季的重要演出中,包括了和伯明罕市立交响管弦乐团与安德里斯.尼尔森斯一起同赴德国多个城市的巡迴演出,同时她也受邀与各大知名乐团合作,像是法兰克福广播交响管弦乐团、皇家利物浦爱乐管弦乐团和瓦西利.彼得连科合作,和苏格兰室内管弦乐团与提瑞.费雪合作演出,与北方小交响乐团和马利奥.温札格合作,以及与德勒斯登爱乐管弦乐团、波茨坦室内学院管弦乐团,和斯洛凡尼亚爱乐管弦乐团合作演出。


在美国的演出部份,贝芭.丝凯德与休士顿交响乐团和杨-巴斯卡.托特里耶合作、与辛辛那提交响管弦乐团和约翰.史托加德一起演出,这次的演出机会中,她有机会与自己的妹妹洛玛.丝凯德,以及杨.沃格勒同台演出贝多芬《三重协奏曲》。


在纪念孟德尔颂週年活动中,贝芭.丝凯德将与她长期搭档的二重奏伙伴洛玛.丝凯德,并和苏黎世室内管絃乐团与华沙爱乐管絃乐团,同台演出《双协奏曲》。她并於巴瑟尔、法兰克福、再次赴东京、大阪,以及於旧金山和辛辛那提举行个人独奏会。在三重奏的演出部份,贝芭.丝凯德与刚加入的大提琴家谭雅.特茨拉夫合作,并已在拜鲁特、萨尔兹堡与格拉茨等地演出,皆颇受好评。


贝芭.丝凯德自2004年起於SONY古典唱片旗下发行专辑。在她发行过的多张录音作品当中,也包括了获得极高评价,与伯明罕市立交响管絃乐团和安德里斯.尼尔森斯一起录制柴科夫斯基的作品。她与妹妹发行了首张二重奏专辑,收录舒伯特、贝多芬与拉威尔的作品,也发行了个人小提琴独奏专辑,演奏易沙意、巴尔托克与巴赫的作品,以及2张协奏曲专辑,演奏莫札特、舒伯特、米歇尔.海顿、萧斯塔可维奇,与杨纳捷克等人的作品。


贝芭.丝凯德出生於里加一个拉脱维亚音乐家庭当中,在当地受教啟蒙,1995年转赴罗斯托克音乐戏剧学院就学。2001年,贝芭.丝凯德赢得了伊丽莎白女王大赛首奖。


贝芭.丝凯德目前使用的小提琴,是由日本音乐协会慷慨赞助出借的一把1725年制史特拉底瓦里小提琴「威尔海姆」,她将携带这把琴赴格拉茨、佛罗伦斯与巴黎等地巡迴演出。

表演者: Baiba Skride
专辑类型: Hybrid SACD
介质: Audio CD
发行时间: 2005-11-14
出版者: Sony Music UK
唱片数: 1
条型码: 5099709293825


引用
"Skride’s playing is unfailingly intelligent - her virtuosity is allied to a sure sense of the work’s [Tchaikovsky] emotional range. Her tone is full but beautifully controlled, and her phrasing throughout has a natural flair that is compelling clear-headed, thoughtful and convincing.” ---- International Record Review

Still in her mid-twenties, Baiba Skride has appeared with such orchestras as the Sinfonieorchester des Bayerischen Rundfunk, Munich Philharmonic, Gewandhausorchester Leipzig, Tonhalle Orchester Zürich, Orchestre de Paris, London Philharmonic Orchestra, Philharmonia Orchestra, Melbourne Symphony, Residentie Orkest and the US orchestras of Philadelphia , Houston , Cincinnati and Detroit . Conductors Skride regularly collaborates with include Charles Dutoit, Thierry Fischer, Mark Janowski, Paavo Järvi, Neeme Järvi, Mikhail Pletnev, John Storgårds and with her peers, Mikko Franck, Andris Nelsons and Kirill Petrenko.

Summer 2009 saw her make her Edinburgh International Festival debut with the BBC Scottish Symphony Orchestra and Donald Runnicles. As a regular at Germany ’s Music Festivals, she returned with the Royal Stockholm Philharmonic and Sakari Oramo to the Rheingau Festival. Highlights in Skride’s 2009/10 season include an extensive tour of Germany with the City of Birmingham Symphony Orchestra and Andris Nelsons, as well as appearances with the Radio Symphony Orchestra Frankfurt, Royal Liverpool Philharmonic Orchestra with Vasily Petrenko, Scottish Chamber Orchestra and Thierry Fischer and the Dresdner Philharmonie.

Forthcoming appearances include her much anticipated debut with the Berlin Philharmonic playing Berg “To the memory of an Angel” and with the Vienna Symphony Orchestra, which is followed by three concerts with the Bavarian State Opera orchestra with Gubaidulina’s “Offertorium”. In the USA Skride gives her Hollywood Bowl debut with the LA Philharmonic. She returns to the Houston Symphony with Yan-Pascal Tortelier and Cincinnati Symphony Orchestra, joined by Lauma Skride and Jan Vogler in a performance of Beethoven Triple under John Storgårds.

In the 2009 Mendelssohn anniversary year, Skride championed the Double Concerto with her long-established duo partner Lauma Skride with the Chamber Orchestra of Europe, Tapiola Sinfonietta, the Züricher Kammerorchester and Warsaw Philharmonic. Recital appearances include Leipzig , Frankfurt, a return to Tokyo , Osaka as well as to San Francisco and Cincinnati .

Skride has been recording for Sony Classical since 2004. Her highly praised discography was recently highlighted with a Tchaikovsky CD with the City of Birmingham Symphony Orchestra and Andris Nelsons. She released a first duo recording with her sister (Schubert, Beethoven, Ravel) as well as a solo violin disc (Ysaye, Bartok, Bach) and two concerto discs (Mozart, Schubert, Michael Haydn and Shostakovich, Janacek).

Baiba Skride was born into a musical Latvian family in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock . In 2001 she won the 1st prize of the Queen Elisabeth Competition.

Baiba Skride plays the Stradivarius "Wilhelmj" violin (1725), which is generously on loan to her from the Nippon Music Foundation, with whom she will be on tour in Graz , Firenze and Paris .

Genres: Classical, Music
Released: 02 February 2004
℗ 2004 Sony Music Entertainment (Germany) GmbH & Co. KG


Audio CD (August 23, 2004)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: Sony Import
ASIN: B0002QXS6U

1 of 1 people found the following review helpful
5.0 out of 5 stars BAIBA SKRIDE'S MASTERFUL SONATAS BY BARTOK AND YSAYE, AND PARTITA BY BACH, February 17, 2012
By RBSProds TOP 500 REVIEWERVINE VOICE
Format:MP3 Music
Five LOVELY Stars! Award-winning Latvian classical violin virtuoso Baiba Skride turns Bach's Partita No 2 in D minor, Bela Bartok's Violin Sonata (1944), and the great Belgian violinist and composer Eugène Ysaÿe's Sonata for Unaccompanied Violin, No 1 in G minor, Opus 27 into a marvelous balanced program of solo violin masterworks that thoroughly engage the listener. From the simple to the complex, from calm to storm, from beguiling to overpowering to the edge of violin possibilities (as Ysaÿe intended), she can double-stop and triple-stop the listener into thinking there are 2 or 3 violins playing at one time. Drawing a beautiful tone from her violin and with her marvelous technique, these performances are uniformly wonderful and Highly Recommended. Five MESMERIZING Stars! (13 Tracks; Time: 78:32. This review is based on an mp3 download. Baiba Skride plays the 1725 "Wilhelmj" Stradivarius violin and is one of the 3 famous Latvian sisters: Lauma who plays piano and Laura who plays viola. Skride is prounced "SKREE dah")


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专辑曲目

01. Bach - Partita Nr. 2 d-moll für Violine solo BWV 1004 - 1. Allemanda 5:15
02. Bach - Partita Nr. 2 d-moll für Violine solo BWV 1004 - 2. Corrente 2:48
03. Bach - Partita Nr. 2 d-moll für Violine solo BWV 1004 - 3. Sarabanda 4:21
04. Bach - Partita Nr. 2 d-moll für Violine solo BWV 1004 - 4. Giga 4:07
05. Bach - Partita Nr. 2 d-moll für Violine solo BWV 1004 - 5. Ciaccona 16:30
06. Ysaye - Sonata No. 1 g-moll für Violine solo op. 27,1 - 1. Grave 5:39
07. Ysaye - Sonata No. 1 g-moll für Violine solo op. 27,1 - 2. Fugato 4:37
08. Ysaye - Sonata No. 1 g-moll für Violine solo op. 27,1 - 3. Allegretto Poco Sc... 4:30
09. Ysaye - Sonata No. 1 g-moll für Violine solo op. 27,1 - 4. Finale Con Brio 2:36
10. Bartók - Sonate für Violine solo - 1. Tempo Di Ciaccona 10:05
11. Bartók - Sonate für Violine solo - 2. Fuga 4:49
12. Bartók - Sonate für Violine solo - 3. Melodia 7:30
13. Bartók - Sonate für Violine solo - 4. Presto 5:12

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