英国大提琴家克莱儿上一张布拉姆斯大提琴奏鸣曲录音，为她赢得英国古典年轻艺术家奖（Classical Brit）。克莱儿16岁参加英国BBC青年音乐家年度大赛，以艾尔佳大提琴协奏曲获得首奖。她是英国皇家音乐院Alexander Baillie的高徒，在校时获得伊莉莎白皇后奖学金，赴华沙参加欧洲年轻音乐家大赛获奖，之后师事海恩利希．席夫。目前克莱儿是相当炙手可热的大提琴家，多次和阿格丽希、陈万荣、柯瓦契维奇等人合作。本片中克莱儿持瓜达尼尼1777年所制的「辛普森」名琴演奏。
萧邦/ 拉赫曼尼诺夫: 大提琴奏鸣曲
萧邦/ 拉赫曼尼诺夫: 大提琴奏鸣曲
Chopin/ Rachmaninov: Cello Sonatas
作者 ／ 娜塔莉．克莱儿/ 查尔斯．欧文 Clein, Natalie/ Owen, Charles
出版社 ／ 金牌大风音乐文化股份
出版日期 ／ 2006/11/03
Release Date: 01/16/2007
Label: Emi Classics Catalog #: 66938 Spars Code: DDD
Composer: Frédéric Chopin, Sergei Rachmaninov
Performer: Charles Owen, Natalie Clein
Number of Discs: 1
Recorded in: Stereo
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Notes and Editorial Reviews
EMI has given this disc the title ‘The Romantic Cello’. This is the kind of description that encourages the potential purchaser to expect a selection of charming miniatures. In fact Natalie Clein and her accomplished pianist Charles Owen perform two of the great sonatas of the duo literature, works that gain in strength and reward with each new hearing. And these artists will certainly offer substantial rewards to those who choose to acquire this appealing recording, which provides excellent sound and technical assurance in equal measure.
In fact the weakness of this release lies in the packaging rather than the performances, and not just because of the inappropriate title. For it is one of those CDs that suffers at the hands of an over-zealous designer, since the movement headings and other details can only be read in tiny print against a florid and unsympathetic background. This dark Green ‘Victorian wallpaper’ design was no doubt chosen with the imagery of ‘The romantic cello’ in mind. To make matters worse, the otherwise excellent notes by John Warrack fail to mention the Chopin Polonaise Brillante, which is a pity. It is unlike EMI to fall prey to such poor editorial judgement, the design aspect of which serves no sensible purpose.
Rant over - on to the music. The sound perspective seems ideal for duo performances, since the pleasing cello tone and the piano detail are beautifully balanced. Charles Owen is a skilful pianist who is experienced in this repertoire, and it shows. For he has already recorded both sonatas for Somm (SOMMCD026) with Jamie Walton, giving performances which more than hold their own in distinguished recorded company.
The Rachmaninov Sonata has for some years been generously served in the recorded music catalogue, for example through the outstanding performance by Yo-Yo Ma and Emmanuel Ax (Sony SK46486). It is a substantial work lasting more than 35 minutes across four movements, so performers need a secure structural awareness and a long-term vision in addition to a strong technique. Clein and Owen possess these talents and the range of colour they bring to the extended opening movement sets the standard for the whole. As the music progresses so too does its sense of purpose and direction, as Rachmaninov surely intended.
The Scherzo which follows has the drive and passion to suggest the dark forces that could preoccupy the composer, while the slow movement and finale have that special eloquence that lies at the heart of Rachmaninov’s style. The more straightforward approach of the beautiful Vocalise, the composer’s transcription of his own song without words, does merit the description ‘the romantic cello’.
Chopin’s opus numbers are not the most logical in the repertory; his Polonaise for cello and piano was written in 1829. It is an appealing piece, and at nine minutes not insubstantial, although the emotional voltage is not like that of the later Sonata. It was composed for the young Princess Wanda Radziwill and her father, and is a brilliant salon showpiece, deserving association with the description ‘the romantic cello’.
The Cello Sonata of 1845, however, is quite another matter. This is one of Chopin’s greatest works from the wonderful final phase of his tragically short career. Clein and Owen start out almost tentatively, but there is method in their restraint, since it allows for the eloquence and emotional range of the music to expand and explore its many shadings of mood. The phrasing is beautifully sensitive to the special nature of the music, as it is in the other movements too. The rhythms of the Scherzo are delivered with much sensitivity and shading, thanks to the recorded sound as much as the performance, while the opening theme of the slow movement has a wonderfully tender restraint of dynamic from both players. There have been some famous recordings of this piece, for example by Pierre Fournier and Jean Fonda (DGG 477 5939, from 1971) and by Mstislav Rostropovich (also DGG, 419 860 2, from 1980). While these rightly remain benchmarks, and project strong musical personalities to admirable effect, Clein and Owen prove themselves to be worthy interpreters of all this wonderful music.
-- Terry Barfoot, MusicWeb International
前辈演奏家为肖邦这部大提琴奏鸣曲已留下了几个著名版本，如罗斯特罗波维奇与阿格裏奇演奏版、杜普蕾与巴伦博伊姆演奏版、斯塔克和裏卡尔多·雷克霍（Ricardo Requejo）演奏版、马友友与艾克斯演奏版等等。尤其是杜普蕾的那个版本，应该给后辈的小同胞克莱恩留下了很好的借鉴。莱恩的演奏极有深度，而钢琴也展示出辉煌的技巧。听克莱恩演录的这部肖邦作品，总的感觉是优美与成熟并存。与克莱恩配对的钢琴演奏家查尔斯·欧文（Charles Owen）在录音中也显示出深厚的功力。
Chopin: Sonata for cello & piano in G minor, Op. 65, CT. 204
01. 1. Allegro moderato [10:05]
02. 2. Scherzo [05:04]
03. 3. Largo [03:23]
04. 4. Finale: Allegro [06:19]
05. Introduction and Polonaise brillante for cello & piano in C major, Op. 3, CT. 148 [09:00]
Rachmaninov: Sonata for cello and piano in G minor, Op. 19
06. 1. Lento - Allegro moderato [12:42]
07. 2. Allegro scherzando [06:25]
08. 3. Andante [05:48]
09. 4. Finale: Allegro mosso - Moderato - Vivace [10:20]
10. Vocalise, instrumental arrangement, Op. 34/14 [06:12]