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Christophe Rousset -《法王路易16的大键琴乐师》(Jacques Duphly - Pieces de Clavecin)[24bits 96KHz][FLAC]

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    古典类型全集作品
    发行时间2012年
  • 时间: 2013/10/07 17:07:19 发布 | 2013/10/07 20:58:24 更新
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专辑英文名Jacques Duphly - Pieces de Clavecin
专辑中文名法王路易16的大键琴乐师
艺术家Christophe Rousset
古典类型全集作品
资源格式FLAC
版本[24bits 96KHz]
发行时间2012年
地区比利时
语言英语
简介

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专辑介绍:

Christophe Rousset 胡萨
胡萨於法国普罗旺斯艾克斯渡过青年时期,并对巴罗克美学产生浓厚兴趣。13岁时,他决定以音乐来探索历史,遂开始学习竖琴。21岁时,他於1983年第七届布鲁日竖琴大赛中胜出,勇夺这个著名比赛的冠军及最受公眾欢迎奖。此外,他又於艾克斯开始爱上歌剧,在歌剧里找到强烈的情感泉源,至今仍深受影响。

作为竖琴独奏家,胡萨的演出迅速吸引国际传媒及唱片公司的注意,先后加入繁盛艺术古乐团及音乐座谈合奏团 ,后来再开展其指挥事业。1991年,胡萨创办抒情天才合奏团。

透过亮相世界各大巴罗克艺术节、多个录音项目及电影原声大碟,胡萨在短短几个乐季旋即成为备受注目的年轻指挥家,以出眾的才华及对音乐的投入闻名乐坛。同时他又努力发掘乐曲原稿,并活跃独奏及室乐演出,培育新一代音乐家更是孜孜不倦。

他通过各项工作,探索17及18世纪的欧洲音乐,包括歌剧、清唱剧、神剧、奏鸣曲、交响曲、协奏曲及组曲等。他曾灌录多张大碟,包括库普兰、拉莫、唐格勒贝尔及佛克雷的全套竖琴作品集,以及巴赫的大量作品,广获好评。

胡萨曾获法国政府颁发艺术及文学军官勋衔,以及国家功勋骑士等荣誉。

Jacques Duphly: Pièces de clavecin
Christophe Rousset
Harmonia mundi France AP043 (2 CDs, stereo); ℗ / © 2012

In some ways, this could be seen as a continuation to my earlier blog entry "Forqueray: The Attraction of the Deep"! Some 30 years ago, I had some rare encounters with compositions by Jacques Duphly (1715 - 1789): for one, my wife has come across a few pieces when she took harpsichord lessons with Johann Sonnleitner in Zurich, and the more I think about it, the more I'm convinced that Gustev Leonhardt did not play a piece by Forqueray in the concert in Zurich that I mentioned in my blog entry from May 2012, but rather "La Forqueray" from the third book of pieces for the harpsichord by Duphly, also included on the above CD. It is also likely that we heard Johann Sonnleitner play Duphly on one of the few, but marvelous harpsichords built by Othmar Zumbach in Wetzikon.

What struck us both with these compositions is Duphly's obvious affinity for the deepest register on the harpsichord — something that may not be quite obvious on every instrument, but is certainly clearly noticeable on fully-sounded instruments with less focus on high harmonics, such as Italian harpsichords, German, or some Flemish instruments. Duphly must have been one of the last composers (Mozart died only two years after him) who was focusing almost exclusively on the harpsichord: one source claims that he was playing the harpsichord exclusively in order not to spoil his hands with the organ keyboard! There is more to it, I think, though: for one, in that last original period of harpsichord building (ignoring the revival in the 20th century), the instrument has reached its most mature state, in which many instruments must have expanded the tonal range (just as it happened with the emerging fortepiano which was gradually expanding the number of keys at both ends over the following decades); in 1742, Duphly moved to Paris, where he must have met the famous harpsichord maker Pascal Taskin. Then, even though Duphly appears to have used Rameau's harpsichord music as models, he evolved from there, and his writing (i.e., the texture of his pieces) is taking up elements from pre-classical composers. So, the harpsichord permitting, he appears to know very well how to get the "biggest effect" from the lowest keys in the instrument!

That brings me to this set of CDs: Christophe Rousset (*1961) is a fantastic harpsichordist (he studied under Huguette Dreyfus in Paris, and under Bob van Asperen in the Hague), and on these CDs he is playing a marvelous, period instrument by Christian Kroll (Lyon, 1776). Kroll (ca.1747 - 1782) was a German harpsichord builder who arrived in Lyon around 1770, coming from Soldine (Brandenburg). The harpsichord used here was apparently found in the original state, having belonged to the same family in the Lyon area since its acquisition in 1776; it now belongs to a harpsichord maker (Marc Ducornet) and has been on display in the Musée de Chartres since 2008, obviously restored. The instrument has two manuals, two 8' and a 4' stop and a lute stop (the latter rarely — if ever — used on this CD), and it ranges down to the low E. It's not a typical French harpsichord (except that harpsichords from the Lyon area apparently often extended as far down as this one), but — in my opinion — comes with lots of the sound characteristic of a "northern" (German or Flemish) instrument, and it is ideal for Duphly's music! Unlike typical French instruments, it has a full, warm, sonorous sound, and the bass register is simply overwhelming! And Rousset's articulation is very careful, yet rich and detailed —

Finally, just briefly about the music on these CDs: I can only give my warmest recommendation for this recording — I am extremely pleased with this music and its performance; not all pieces may be quite at the same, high level — but overall, this is definitely worth listening to!

引用
Sunday, August 15, 2010
French Baroque Harpsichord Keyboard Suite 法国巴洛克大键琴键盘组曲
说到法国早期键盘音乐,不得不浅谈一下组曲。组曲(Suite)一词,在今天大眾古典乐里,指的是多首(通常长度较短)曲子组合而成的一 种音乐形式。今天这些组曲里的曲子可能是歌剧(比才(Bizet)的卡门组曲)和芭蕾舞(柴可夫斯基(Tchaikovsky)的天鹅湖)改编的,也很有 可能是原创(霍尔斯特(Holst)的行星组曲)。


但组曲一词,在十七、十八世纪的巴洛克音乐里,定义比较专门一些,曲子由不同的舞曲所组成。组曲形式,在法国的宫廷乐中被发扬光大,舞曲和 舞蹈被结合成一块,是为法国表演艺术之代表。但法国组曲的发展,不仅止於管絃乐。早期法国重要的鲁特琴(lute)作曲家们(如Gaultier),就有 写出许多鲁特琴组曲。随后,将法国鲁特琴独特的风格,移植到大键琴上,就产生出来了独一无二的法国大键琴乐派。

曙光乍现- 早期的法国大键琴组曲



法国大键琴乐派的创始人,今归功於Jacques Champion de Chambonnieres。在他之前,法国当然有大键琴家,但他在大键琴音乐上所带来的创新和贡献,让他成为在国际上打响知名度的第一位法国大键琴作曲家。他在1670所出版的两部曲集,收纳了他毕生的音乐精髓。

在这儿得再注明,Chambonnieres的这些大键琴曲,都是零散的舞曲,并没有被归为「组曲」。比较讽刺的是,真正将舞曲结合成一固定组曲形式的,是另一位德国早期的重要键盘作曲家,名叫Johann Jakob Froberger。Froberger将除了拜南义大利的Frescobaldi为师,学习义大利的音乐风个之外,十七世纪中期,他还参访法国,深受Chambonnieres等法国音乐的薰陶。或是他德国人一板一眼,井然有序的天性,使得在Froberger於1649出版的键盘乐中,始出现硬将舞曲归在一块的组曲。这些组曲的顺序都一样,都是:

Allemande(阿勒曼舞曲) - Courante (库朗舞曲) - Sarabande (萨拉邦德舞曲)

后来的组曲中,他更是将Gigue (吉格舞曲)纳入,做为轻快有活力的终乐章。他应该可以说,是第一位将这四个不同的民族曲风,融在一块儿。(Allemande - 德国, Courante / Corrente - 法国/义大利 ,Sarabande - 西班牙,Gigue - 英国)

Chambonnieres的两位得意门生,Louis Couperin (Francois Couperin库普兰的叔叔)以及Jean-Henry D'Anglebert的键盘组曲里,除了渐渐又加入了别的舞曲,像是Gavotte(嘉禾舞曲)及Minuet(小步舞曲)等,他们最重要贡献,在发展出所谓的未分小节的前奏曲(unmeasured prelude),一个真正属於法国的特有产物。这些前奏曲,通常都作为组曲的开头,有种即兴风。


旭日东升- 中期的法国大键琴组曲


法国键盘组曲,完完全全主导了十七世纪下半到十八世纪的欧洲的大键琴音乐文化。从Louis Couperin到Rameau,甚至到末期的Duphly,接二连三,源源不绝的法国大键琴作曲家所建立的王朝,就连今天熟悉的大师史卡拉第,韩德尔,以及甚至巴哈,都无法撼动的。

十七世纪末到十八世纪,D'Anglebert和Couperin之间的「过渡时期」,法国仍有几位重要的代表。其中,有Louis Marchand和Louis-Nicolas Clerambault二位除了本身是出色的风琴家,也是很厉害的大键琴家。二位流传至今,各只有两首组曲,不过都是品质相当高的作品。

另外两位值得一提的作曲家为Elizabeth Jacquet de la Guerre,和Gaspard Le Roux。de la Guerre出身音乐世家,不仅自己是位杰出的大键琴家,更是当时少数有名的女性作曲家之一。她写了许多室内乐器乐曲和声乐曲,更是第一位写歌剧的法国女性作曲家。她为大键琴所写的六首组曲,今天又渐渐被受到重视了。


Gaspard Le Roux生平和出身年月日不详,还有人觉得说不定是个笔名。他在法国大键琴音乐上的贡献来自他於1705所出版的组曲集。里面,除了有一首gigue是指定给双大键琴弹奏的,他还有详细的建议,如何将他曲子中的许多曲子改编成给两台大键琴弹奏的版本。在我印象中,这应该是史上第一人吧。


除了法国自家的作曲家之外,受到法国大键琴乐派影响的他国音乐家多的是。其中最重要的音乐家之一,为德国作曲家Johann Caspar Ferdinand Fischer。他将这法式的风格,带进德国并推广之。他的组曲开头都採一前奏曲,而接下来的舞曲,更改良了前辈Froberger的组曲模式,有更多样的舞曲风。Fischer的曲子简短,但其旋律甜美迷人,色彩丰富,很多音乐学家甚至认为他的创作不输於Froberger或巴哈。韩德尔和巴哈,也都熟悉他的作品,而巴哈甚至有收藏他的键盘曲集,并说时常从他的作品中抓取灵感。



日正当中- 晚期的法国大键琴组曲

早期与中期的法国大键琴组曲的曲式大同小异,以前奏曲开场,伴随随著一系列的舞曲。这个模式,被许多德国作曲家加以研习,经消化和反芻后,又有了自己德国特有的组曲风格。其中两位最重要的大师,当然就是上面提及的George Frideric Handel(韩德尔)和J. S. Bach(巴哈)。Handel出版了两册的组曲,不过以1720这一册的八首最为知。先前我在这儿有讨论过。巴哈的组曲,更是不用说了。他的六首英国组曲,六首法国组曲,以及六首组曲(partitas),除了是大键琴的名曲外,更是西方古典乐里的钢琴传统曲目了。钢琴家顾尔德(Glenn Gould),席夫(Andras Schiff),以及Murray Perahia(普莱亚)在钢琴上所录过的巴哈键盘曲,虽然风格大不同,但向来为人称道,是用现代钢琴演奏巴哈,不可多得的录音。

当法国组曲成为十七、十八世纪全欧洲大键琴曲子的典范时,法国组本身又历经了一种新的革命。站在这个改革漩涡中间的,正是Francois Couperin(库普兰)。他总共写了27首组曲,分成四册出版。他的前几首组曲的开头曲子为Allemande,Courante,Sarabande,和Gavotte,似乎在照著传统在写作。不过如果接著听,就会发现他开始远离这个固有的模式。在他的两百多首大键琴曲子当中,绝大多数都加有标题的。许多是人名的标题,是当时社会上有地位的贵族,或是作曲家认识的朋友。不过,更有趣的是其他更生动的标题,从植物(芦苇),动物(鰻鱼),神明(爱神邱比特),到各式各样的表情(天真、哀愁),人物(少女、寡妇、小丑),到翻筋斗、婚姻,风铃,丝带等无奇不有。甚至,有些标题非常莫名奇妙,像是那「神秘的障碍」,到今天大家还是搞不清楚倒底是什么,真是耐人寻味。这些描述性曲子(character pieces),开创了法国大键琴音乐新的一片领土,持续了有近一百年。库普兰的作品集,可谓是法国大键琴音乐的极致,形形色色的曲子更是打造出了一个自己的小世界。

另一位巨匠为Jean-Phillipe Rameau(拉摩),虽以歌剧和芭蕾音乐见长,但在其他的器乐曲也有佳作。他在和声上研究的一套学说,更是至今,念西方乐理的学生所在採用的。Rameau的大键琴曲子不多,只写了五首组曲,装饰音的繁杂程度远不像D'Anglebert或是Couperin,不过他在和声上和音色效果的处理,却是比Couperin还更为大胆有创意。Rameau的曲名,也不输Couperin,有「鸟啼声」、「母鸡」、「村姑」、「三隻手」等联想力丰富的标题。我自己弹了几首Rameau的大键琴曲子,对他的曲子,比起Couperin,更是喜爱。

无疑,法国大键琴曲,在Couperin和Rameau二位,到达了颠峰。


日薄西山- 末期的法国大键琴组曲

十八世纪后半,义大利曲风开始佔上风。奏鸣曲开始越来越受欢迎,渐渐取代了法国的组曲。在西方古典乐,大家也都知道这义法音乐形式的斗争,终究是义大利风胜出。奏鸣曲,协奏曲,和交响曲,将成为日后最普遍的音乐形式。

Couperin和Rameau之后的法国键盘作曲家,仍然紧抓著先前的传统,几乎无视於身边正在改变的音乐潮流。这些作曲家在世的时候都是有名的作曲家,但今天多已被遗忘。同样的时代背景下,他们特立独行,不过更现实地,但同时也显得像是跟不大上时代的音乐人。其中的少数位,有继承Couperin音乐家族的Armand-Louis Couperin、Pancrace Royer、Jacques Duphly、Simon Simon、Michel Corrette、以及先前有介绍过的Claude Balbastre。 他们的曲子,其实也有巧妙地结合一些义大利音乐的原素,但外表包装则是不折不扣的法式风格。他们的曲子,时而放荡不羈,时而华丽优雅,有些甚至大秀炫技。这似乎意谓著,Couperin和Rameau死后,法国键盘音乐并没有随之逝去,仍在这些后辈里发出了最后的光辉。

本人对Balbastre和Duphly的音乐比较熟悉。他们的曲子,极具特色,未必Rameau比逊色,是首先推荐的。而Royer写的一首进行曲,名叫La Marche des Scythes,表演起来精彩十足。网路上的大键琴家Skip Sempe所弹的这个版本,更是过癮(有一段左手的片段,听似容易,但其实是有困难度的!
http://jackperng.blogspot.sg/2010/08/frenc...ese.html


引用
CD Jacques Duphly : Works for harpsichord Christophe Rousset
Christophe Rousset's performances as a harpsichordist had soon attracted the attention of the international press as well as record companies. He became a member of Les Arts Florissants, then after he joined Il Seminario Musicale, before embarking on a career as a music director, which led him to form his own ensemble, Les Talens Lyriques, in 1991. Lighting this orchestra in fire with his enthusiasm as a conductor and researcher, he was soon among the front runners of Baroque, acclaimed in the world.
Through this recording Christophe Rousset has attempted to restore the virility of Jacques Duphy's compositions as well as the severity of some features, the sincerity of the composer’s gesture, all this greatly inspired by the beautiful sound of the Kroll harpsichord, kindly made available to us by its owner and restorer Marc Ducornet.





Rousset Plays Jacques Duphly

Review by: John Greene
Artistic Quality: 10
Sound Quality: 10

Jacques Duphly is remembered not so much as a composer, but as one of the best harpsichord teachers and performers in Paris during the instrument’s “Golden Age”. His extant oeuvre consists of only four books of harpsichord music (52 compositions in all), technically adept and often challenging works that specialists have tended to regard more as teaching aids than as original, innovative contributions to the literature. In the notes, harpsichordist Christophe Rousset essentially agrees with this assessment, yet given how thoughtful, and in numerous instances how provocative his performances are of these often remarkably beautiful, lively, and charming works, he clearly makes a case that they’re certainly unworthy of neglect.

The Chaconne en fa, early on the first disc (of two), is initially impressive with its widely shifting, extremely varied take on the dance. It eventually evolves to the point where tempos and dynamics change so drastically that the overall effect is more like an extended improvisational study of ornamentation rather than a cohesive piece. Following the Chaconne is the fierce, equally compelling Medée, in which Rousset interrupts the work’s brisk momentum with only a few brief staccato interludes. Anyone familiar with François Couperin’s well-known Les Barricades Mysterieuses will delight in Duphly’s more delicate homage, Rondeau en do, with its noticeably less mysterious rhythmic stream. By way of contrast, Rousset follows the piece with another rollicking upbeat selection, the hyperactive gigue La Millettina. Other favorites include the clever Scarlatti-influenced La Cazamajor and La Lanza, along with Les Colombes, with its clear programmatic figures in imitation of viola da gamba strokes in homage to you know who.

Many others have offered Duphly recitals on CD, though none has satisfied as Rousset consistently does here. While her recent effort is very respectable, Elisabeth Joyé (Alpha) has a tendency to unnecessarily linger, often imbuing her program with a sense of overtly deliberate faux elegance (Rousset’s tempos and timings are consistently more lively and shorter than hers, with the one exception of Les Graces, which, although nearly two minutes longer, achieves a notable sense of delicacy and refinement). In their now decades-old complete cycles, John Paul (Lyrichord) and Yannick Le Gaillard (Adda) also suffer from a lack of variety and risk, deficiencies that Rousset never allows to mar his performances.

The sound on this Aparte set is spectacular. The combination of the magnificent vintage 1776 Christian Kroll instrument (one of the very few that exists entirely in its original state), the excellent acoustics of the La Galerie Dorée recording venue, Florent Olivier’s brilliant engineering, and of course Rousset’s peerless articulation, have resulted in one of the finest, most life-like harpsichord recitals available. Highly recommended.


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专辑曲目

01. La Forqueray (Troisieme livre de pieces de clavecin, 1756)
02. Chaconne en fa (Troisieme livre de pieces de clavecin, 1756)
03. Medee (Troisieme livre de pieces de clavecin, 1756)
04. Allemande en do mineur (Premier livre de pieces de clavecin, 1744)
05. Courante la Boucon (Premier livre de pieces de clavecin, 1744)
06. Rondeau en do (Premier livre de pieces de clavecin, 1744)
07. La Millettina (Premier livre de pieces de clavecin, 1744)
08. Rondeau la Pothouin (Quatrieme livre de pieces de clavecin, 1768)
09. La Victoire (Quatrieme livre de pieces de clavecin, 1768)
10. Rondeau en re mineur (Premier livre de pieces de clavecin, 1744)
11. La Damanzy (Second livre de pieces de clavecin, 1748)
12. La Cazamajor (Premier livre de pieces de clavecin, 1744)
13. La Felix (Second livre de pieces de clavecin, 1748)
14. La de Vatre (Second livre de pieces de clavecin, 1748)
15. Allemande en re mineur (Premier livre de pieces de clavecin, 1744)
16. Courante en re mineur (Premier livre de pieces de clavecin, 1744)
17. Les Graces (Troisieme livre de pieces de clavecin, 1756)
18. La Vanlo (Premier livre de pieces de clavecin, 1744)
19. Rondeau (Premier livre de pieces de clavecin, 1744)
20. La Tribolet (Premier livre de pieces de clavecin, 1744)
21. La du Buq (Quatrieme livre de pieces de clavecin, 1768)
22. La D`Hericourt (Second livre de pieces de clavecin, 1748)
23. La de Guyon (Troisieme livre de pieces de clavecin, 1756)
24. La de Drummond (Quatrieme livre de pieces de clavecin, 1768)
25. La Lanza (Second livre de pieces de clavecin, 1748)
26. Les Colombes (Second livre de pieces de clavecin, 1748)
27. La de Chamlay (Troisieme livre de pieces de clavecin, 1756)

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