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Alina Ibragimova -《无伴奏小提琴奏鸣曲与组曲BWV1001~1006》(Bach - Sonatas & Partitas for Solo Violin)[2 CD][FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2009年10月13日
  • 时间: 2013/11/03 01:02:55 发布 | 2013/11/05 09:39:15 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Bach - Sonatas & Partitas for Solo Violin
专辑中文名无伴奏小提琴奏鸣曲与组曲BWV1001~1006
艺术家Alina Ibragimova
古典类型全集作品
资源格式FLAC
版本[2 CD]
发行时间2009年10月13日
地区美国
语言英语
简介

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专辑介绍:

在按照惯例介绍曲目之前,我们先来谈谈这张专辑的主角伊布拉吉莫娃,才23岁便已在英国独立厂牌Hyperion发行首张专辑,和多数歌手一样一年一张的出片速度,至今已是第三张。多数唱片公司强调总是喜欢强调艺人气质灵性,非得在封面摆上美豔动人的个人照当宣传,但是Hyperion向来习惯以名家图画取代个人照,或许就是希望听眾能将重心放在艺人的音乐内在。直到这张专辑才好不容易看到艾莉娜的全身照,但...黑白画面和略为模糊的影响根本无从凸显任何优势,实际上翻开解说册内页你会发现这位小女孩不仅气质出眾,笑容更有如邻家女孩般灿烂可爱,套个字眼就是「萌」!但是根据2011年7月的BBC新闻採访资料,记者问她近来许多艺人会把个人照片视为音乐之外另一个增加知名度的方法,问她是否有感受到压力时她的回答是「有时候会被要求作一些和我当下所作没有太多关联或是完全沾不上边的事情,这种我完全不会去碰」。酷吧?

虽说时势造英雄,承平时期哪来那么多传奇加持的音乐家?在这个资讯流通异常迅速发达的年代,想要认识音乐家的特色透过网路就拥有一堆资料,想在全球乐坛佔有一席之地比起上个世纪还真是困难许多。因而学历出身经历无一不是当今重点。才10岁全家就从俄罗斯移民至英国,比起来伦敦更像她的家乡,艾莉娜之后进入母亲任教的曼纽因音乐学校,曼纽因当时便认为她拥有某些特质。汉弗瑞.伯顿(Humphrey Burton )在他的曼纽因传记里头写道「当她演奏易沙意献给安奈斯可的无伴奏小提琴奏鸣曲时,我们立刻感受到悠久传统的小提琴教育不仅在此延续,也看到曼纽因梦想的力量」之后艾莉娜陆续唸过两间位於伦敦的皇家音乐院(RCM、RAM),2005-7年成为BBC第三广播电台新锐艺术家一员,她自承此事让获得相当大的帮助。2009年全英古典音乐奖最佳青年演奏家、2010年皇家爱乐协会年度新锐艺术家,并且成为该协会艾蜜莉.安德森奖历来最年轻得主,获得英国BB信託(Borletti-Buitoni Trust)的资助奖金这些都是为音乐家背书的重要资历。

当然名琴配美女自是不可缺少的,她自2006年起使用欧宝(德国知名汽车公司)继承人乔治.冯.欧宝慷凯提供的1738年的皮耶妥.瓜奈里名琴;录制这张专辑时也是使用这把乐器。她说「这把乐器音色金碧辉煌,有丰厚的低音,如果有需要也可以表现的很明亮。一开始我以为这把乐器就是低音远比高音响彻,但现在不会这样想了,它听起来相当均衡。」最新2013的消息是艾莉娜改用1775年的安瑟摩.贝洛契欧小提琴,同样由欧宝提供。你或许认识慕特、希拉蕊.韩、伊莎蓓儿.佛斯特,即便你不熟悉至少也曾听闻,如果不是这些音乐家,我们如何能拥有不同於唱片黄金年代的新特色呢?国际唱片评论杂誌便说「我们正身处小提琴家第二黄金年代,就算我们有希拉蕊.韩、蕾拉.乔瑟芙维契、茱莉亚.费雪,但是伊布拉吉莫娃的确是让人吓到的天才。」

现在我们可以回头来谈谈巴哈这首乐曲:这是所有职业小提琴家都必须攀爬至少一次的圣母峰,也是人类有史以来最令人敬畏无可匹敌的小提琴作品。

TT: 139'08


专辑编号: CDA67691.2
专辑类型: 双CD
发行年份: 2009
国际条码: 0034571176918
音乐家:
Alina Ibragimova, violin 艾莉娜.伊布拉吉莫娃, 小提琴
音乐厂牌: Hyperion

Performer: Alina Ibragimova
Composer: Johann Sebastian Bach
Audio CD (October 13, 2009)
Number of Discs: 2
Format: Import
Label: Hyperion
ASIN: B002KUZBBG


Bach: Sonatas & Partitas For Solo Violin / Alina Ibragimova

Release Date: 10/13/2009
Label: Hyperion Catalog #: 67691 Spars Code: DDD
Composer: Johann Sebastian Bach
Performer: Alina Ibragimova
Number of Discs: 2
Recorded in: Stereo


Bach: Solo Violin Sonatas & Partitas; Alina Ibragimova

引用
BACH Solo Violin Sonatas and Partitas • Alina Ibragimova (vn) • HYPERION 67691/2 (2 CDs: 139:08)


Alina Ibragimova, now entering her mid-twenties, has recorded a repertoire largely centered on the meal’s meat course: Karl Amadeus Hartmann, Nikolay Roslavets, and Karol Szymanowski (no desserts, like Wieniawski, Paganini, or Sarasate—but no Beethoven, Brahms, or Mendelssohn, either, for that matter). Now she’s entered the lists with a complete recording of Bach’s Solo Violin Sonatas and Partitas. The engineers Read more


In the First Sonata’s Adagio, she plays with rhythmic freedom and a hypnotic sense of rhapsodic invention. She hews close to the manuscript version: in the third measure, for example, she raises the E? in the “bass” to E (though it’s an E? through the rest of the measure): the E appears in the manuscript (but not in at least one of the “urtext” editions). As in the performances of so many period practitioners, her long-held notes tend to drawl. In the ensuing Fuga , she clips along at a bracing tempo, imaginatively arpeggiating the moving notes over the D pedal. In the section that follows, her top-weighted chords tend to obscure the melodic movement of the bass line (violinists used to play chords top-down to emphasize these foundations, but seldom do so nowadays). Though she takes so many of the melodic figures in the Siciliana with separate bows, she manages, partly through ingenious and sensitive dynamic nuance, to maintain the movement’s flow—as she did in the Adagio. Even so, some listeners may feel that she proceeds more from note to note than from idea to idea. At her breathtaking tempo, the Presto maintains crisp clarity even in its most awkward passages, due perhaps to bowing that’s been called “sprung détaché”—the separate sounding strokes the Baroque bow naturally produced.


Dynamic nuances similar to those she employed in the First Sonata’s Siciliano reappear in the First Partita’s Allemande, which seems in this performance to be perpetually renewing itself. Nicholas Anderson’s notes describe this Partita as, of the three, the most “expressively undemonstrative”; but listeners to Ibragimova’s kaleidoscopic performance might not find this description entirely apt—and she takes the Double at a tempo brisk enough to preserve the Allemande’s iridescent flashing. If the Corrente seems disjointed in some performances, Ibragimova organizes its figures within larger phrases, each with its own natural rise and fall; she unleashes her virtuosity in the Double. The Sarabande proper, as did the First Sonata’s Adagio, features long-held notes that seem to drawl; its Double, though she outlines its melodies sensitively, proceeds at a slower tempo that emphasizes fey effect more than melodic continuity. Nevertheless, her earthy, piquant reading of the Tempo di borea and her rhythmically varied one of its Double bring the Partita to a satisfactory close.


In the Second Sonata, Ibragimova, playing freely (though not with license), fleshes out the logical skeleton of Bach’s Grave in a way that’s warmly human, though the Fuga remains somewhat abstract. The second Sonata’s Andante, with its accompanied melody on the solo violin, parallels the First Sonata’s Siciliana. This time, however, Ibragimova doesn’t seem to recreate the effects she conjured in that earlier movement, allowing accompaniment to draw the freer melody into its regularity.


Ibragimova’s rhythmic freedom in the Second Partita’s Allemanda belies Nicholas Anderson’s remark that it’s a bit “lacking in geniality.” Her tempo in the Corrente allows it to run in almost a literal sense and injects rarely encountered energy into its triplets as well as into its leaping dotted notes; her tempo in the Giga strikes sparks. Ibragimova brings personal ideas to the Chaconne. Her habit of tapering off just before an important note and playing it quietly imparts an occasional sense of understatement epitomized in her quiet ending of the movement. She incorporates the rushing détachés that modern violinists have borrowed from period practitioners, mixing them with heady arpeggiations and rich characterizations of each variation to create a musical statement that should provide food for thought and a subject for meditation on Bach’s multifaceted writing for violin.


If Ibragimova’s not straightforward in Chaconne, she isn’t either in the massive Fuga of the Third Sonata, taking time to pause, for example, before the beginning of a significant statement. As do the other fast movements in regular sixteenth notes (for example, the First Sonata’s Presto), the Allegro assai in this reading makes a stunningly virtuosic impression.


The Third Sonata’s famous Preludio offers the same kind of opportunities for virtuosity as do earlier movements; Ibragimova plays it lickety-split with keenly focused attention on Bach’s limned accompanimental lines. But the Loure, which she bastes with subtle spices, proves just as satisfying.


With an overall tendency toward whining, period-like timbres, some bow changes that suggest some stiffness in bow crossings, and occasional intonation that sounds sour in context, Ibrigimova’s playing of solo Bach displays a mix of qualities that might make it less than wholly palatable to some even if she played with more perfect ease than she does. Nevertheless, so many well-thought-out individual nuances grace her reading that no one can afford to overlook it. The cover of the jewel case depicts her in what could be mistaken for a pillbox; the insert behind the CD displays her face wearing what looks like a deep scowl. Though the set might seem to some too much like a basket of vegetables rather than of a vase of roses, and though in its originality it’s miles apart from the more elegant, less brooding readings of Heifetz, Milstein, Francescatti, Oistrakh—even a more modern thoughtful player of Bach like Christian Tetzlaff, with whom she studied—it’s impossible not to recommend it, though with caveats.


引用
(Hyperion)
5 out of 5

Andrew Clements
The Guardian, Friday 2 October 2009

Alina Ibragimova's previous discs for Hyperion have all been of 20th-century repertoire - concertos by Hartmann and Roslavets, violin-and-piano works by Szymanowski. All in their different ways were first rate, but none of them gave any inkling of just how startlingly good Ibragimova's solo Bach recordings might be. This is an absolutely compelling set of performances, the kind that have you on the edge of your seat wondering at the freshness of it all and what she might do next. Every phrase in these familiar works seems newly minted, every bar totally alive. In her choice of tempi, phrasing and dynamics, Ibragimova constantly takes risks, and almost always justifies them. She comes unstuck just a few times - usually by taking passages too fast to be able to articulate them properly, as in one section of the famous chaconne that ends the D minor Partita. But the way she illuminates the different episodes of that piece, just as she gives each phrase its own colour and emphasis, is always remarkably musical. Those who like their Bach metrically correct and evenly paced might perhaps find Ibragimova's approach too improvisatory, but its sheer energy and self-belief are genuinely thrilling.


http://www.wretch.cc/blog/orangebach/7383820
巴哈就是一次笑八个哈 Alina Ibragimova Violin Recital (23 Sep)
One ought, everyday at least, to hear a little song, read a poem, see a fine picture, and if it were possible, to speak a few reasonable words.--Johann Wolfgang von Goethe

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专辑曲目

Johann Sebastian Bach (1685 - 1750)

CD 1

Sonata for Violin Solo No.1 in G minor, BWV 1001
[1] 1. Adagio
[2] 2. Fuga (Allegro)
[3] 3. Siciliana
[4] 4. Presto

Partita for Violin Solo No.1 in B minor, BWV 1002
[5] 1. Allemanda - Double
[6] 2. Corrente - Double
[7] 3. Sarabande - Double
[8] 4. Tempo di Borea - Double
[9] 5. Sarabande
[10] 6. Double
[11] 7. Tempo di Borea
[12] 8. Double

Sonata for Violin Solo No.2 in A minor, BWV 1003
[13] 1. Grave
[14] 2. Fuga
[15] 3. Andante
[16] 4. Allegro

CD 2

Partita for Violin Solo No.2 in D minor, BWV 1004
[1] 1. Allemande
[2] 2. Corrente
[3] 3. Sarabande
[4] 4. Giga
[5] 5. Ciaccona

Sonata for Violin Solo No.3 in C, BWV 1005
[6] 1. Adagio
[7] 2. Fuga
[8] 3. Largo
[9] 4. Allegro assai

Partita for Violin Solo No.3 in E, BWV 1006
[10] 1. Preludio
[11] 2. Loure
[12] 3. Gavotte en Rondeau
[13] 4. Menuet I-II
[14] 5. Bourrée
[15] 6. Gigue

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