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Giuliano Carmignola -《维瓦第小提琴协奏曲》(Vivaldi - Violin Concertos)[3 CD][APE]

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  • 摘要:
    古典类型协奏曲
    发行时间2008年09月02日
  • 时间: 2014/08/31 18:18:36 发布 | 2014/09/14 15:00:38 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Vivaldi - Violin Concertos
专辑中文名维瓦第小提琴协奏曲
古典类型协奏曲
资源格式APE
版本[3 CD]
发行时间2008年09月02日
地区美国
语言英语
简介

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专辑介绍:

喜欢巴洛克小提琴和喜欢浪漫派小提琴的乐迷似乎总说不到一块,小提琴这件乐器虽然是在十八世纪巴洛克时代成熟的,但经过浪漫主义的塑造,它更多地属於帕格尼尼、门德尔松、勃拉姆斯、柴可夫斯基这些浪漫主义音乐大师,他们让小提琴发出浓厚抒情、激越深沈的如歌之声,那似乎才是小提琴应该有的声音。然而,二十世纪初肇始的古乐复兴运动把巴洛克小提琴风格和演奏法带回了音乐舞臺,二十世纪下半叶的唱片工业让远离欧陆的国内乐迷也欣赏到了本真运动的成果,发音明亮、偏薄、直接、不带揉弦,甚至是用羊肠线演奏的巴洛克小提琴对习惯浪漫小提琴耳朵来说,是个新鲜体验。浪漫小提琴拥有一大批如雷贯耳的大师名录,相对而言,巴洛克小提琴演奏家就羞涩很多,他们的名气大多限於专家、学院、小圈子乐迷。

但也有一个例外,他就是义大利小提琴家——朱裏亚诺.卡米诺拉(Giuliano Carmignola)。
当今小提琴演奏界,在现代小提琴和巴洛克小提琴两个领域内都堪称大师级人物的,大概只有义大利人朱裏亚诺·卡米诺拉了。卡米诺拉成名很早,七十年代初,他连续在好几个国际小提琴比赛中获奖,其中包括1973年的帕格尼尼比赛。曲目从巴洛克、古典、浪漫一直到现代二十作品。他是个现当代作品的专家,在义大利首演法国当代作曲家杜蒂裏耶的小提琴协奏曲。保留曲目单从维瓦尔第、贝多芬、斯特拉文斯基,一直到施尼特凯。

卡米诺拉拓宽领域是在八十年代,涉足巴洛克曲目,用仿古小提琴演奏。时至今日,卡米诺拉花一半时间在巴洛克音乐上,另一半则属於古典、浪漫和现代音乐。以这种身份闯荡乐坛的小提琴家,寥寥无几。国内不少巴洛克音乐老饕早就开始追捧这位明星。

卡米诺拉生於义大利北部的特莱维索,离威尼斯很近,14世纪,特莱维索曾被并入威尼斯公国,从这个意义上,卡米诺拉也可以称得上是个威尼斯人,维瓦尔第、塔尔蒂尼的后代。卡米诺拉上过小提琴大师米尔斯坦的大师班,在日内瓦音乐学院曾跟随小提琴大师谢林学习过。不过这个光辉的履历,并不能明确地解答卡米诺拉的风格到底来自哪里?卡米诺拉的演奏如此出神入化,富於表现力,让我们几乎要重新定义巴洛克小提琴留给人们的保守印象。

卡米诺拉演奏古乐一般用两把琴,一把十八世纪无名氏所制的小提琴,得自他家乡的音乐前辈艾普裏良(Angelo Ephrikian),Ephrikian曾在战后破译出一份维瓦尔第的手稿。另一把琴,由圭达图斯(Floreno Guidantus)在1793年制造。卡米诺拉非常喜欢这把圭达图斯琴,环球archiv首次录音使用的就是这把。他说:“用这把琴演奏巴洛克音乐真是绝妙极了,我想要的音色,它都能作出来。”录音中圭达图斯的音色非常华丽,变化多端,高音弦带有金属似的银亮色调。他演奏的巴洛克音乐一方面带有古乐器那种粗礪的质感,另一方面音色很亮,很优美,洛杉磯时报的一个评论很形象,说卡米诺拉的演奏兼有漫画家赫许菲尔德(Hirschfeld)那狂放随性的线条,以及雕塑家贾柯梅蒂(Giacometti)金属雕塑的枯瘦优雅。
卡米诺拉在义大利十八世纪巴洛克小提琴演奏领域如此成功,以至於演奏界将卡米诺拉视为一个分水岭,有“前卡米诺拉”和“后卡米诺拉”之说,意思就是自从有了卡米诺拉的样板,古乐小提琴再要想以前那样,一味追求发音古朴本真,而将演奏的技巧和说服力(rhetoric)放在第二位的思路,已经走不太通了。威尼斯音乐界的领袖人物马里奥.迈希尼斯(Mario Messinis)就持这样的观点,卡米诺拉打开了全新视野。

早在七十年代,卡米诺拉在罗马独奏家乐团(Virtuosi di Roma)演奏,后来他回忆说,当时演奏巴洛克曲目还是以甜美的发音、辉煌的技巧为主,浪漫式的演绎,压根没有什麽历史观念。从那时开始,卡米诺拉走了很长一段路,他说:“你要不停去发现新知,努力去接近真理。”

很多人,包括许多古乐演奏家都以为古乐演奏清规戒律很多,演奏家个性不强,卡米诺拉打破了这种成见。他说:“巴洛克协奏曲宽广的力量幅度,强有力的方向感,留给演奏家无穷的幻想与创造空间。在这个广阔空间裏,你大可以自由发挥,也不会超越古乐演奏风范。习惯了现代乐器,再以古乐方式演奏,是个很新奇的实验,你要掌握一套完全不同的字母表和语法。”很有趣,真正给古乐演奏带来革新的,却是一个先在现代小提琴领域上取得很高成就的艺术家,他杀入古乐领域,带来了令人耳目一新、振奋人心的古乐演奏。

最让我惊讶的是,卡米诺拉在演奏巴洛克小提琴音乐时的那种句法,丝毫没有老派小提琴大师演奏巴洛克音乐时习惯有的抒情大线条,那种饱满的抒情大分句好像可以无休止地延续下去,这完全来自浪漫主义音乐。卡米诺拉完全不同,即使在慢乐章中,他也把乐句很自然地断开来,气息做得比较短,有很强烈的呼吸感觉,很像一个演说者自然的话语间歇。不少巴洛克作曲家很在意将文法上的修辞手段化入音乐,卡米诺拉的演奏重新让我们体会到这一点。

在巴洛克协奏曲中,乐队和独奏的关係和浪漫主义时代协奏曲大不相同。如果把独奏比作雄辩的演说家,乐队比作演说家所面对的民众,那麽在巴洛克时代的协奏曲中,独奏演说家完全控制住了民众,乐曲的基调、节奏全由独奏掌控,就如同一个阶级秩序井然的等级社会,独奏与乐队之间是和谐一体的。而在法国大革命之后的浪漫主义协奏曲中,民众不再循规蹈矩,他们更像法国大革命中的暴民,演说者或许能暂时说服民众,但也有随时被颠覆的危险,独奏和乐队是衝突竞争的。根据这个比喻,横贯多个领域的卡米诺拉不愧为一个天才而雄辩的演说者。

Release Date: 09/02/2008
Label: Brilliant Classics Catalog #: 93091 Spars Code: n/a
Composer: Antonio Vivaldi
Performer: Andrea Marcon, Giuliano Carmignola
Conductor: Andrea Marcon
Orchestra/Ensemble: Sonatori de la Gioiosa Marca
Number of Discs: 3
Recorded in: Stereo


Release Date September 2, 2008
Duration 03:02:04
Genre Classical
Styles Concerto

引用
Vivaldi - Violin Concertos - Concerti per le Solennita (3CD)


Vivaldi - Violin Concertos (Giuliano Carmignola, Andrea Marcon) [2008] 3cd
Classical | Label: Brilliant Classics | Catalog Number: 93091

Dutch label Brilliant tends to issue giant budget box sets, with mixed results. This one, collecting a group of 1990s recordings originally appearing on the small Divox label from Switzerland, has some of the characteristic flaws, but it actually assembles three discs' worth of music that belongs together in a single program. What you get here is an unusually broad range of insight into Vivaldi as a programmatic or representational composer. The program begins with the most famous Vivaldi work of all, programmatic or not, the four violin concertos known as Le Quattro Stagioni or the Four Seasons. The rest of the music is much rarer. The second disc presents a set of five concertos grouped under the title "Le Humane Passioni" -- the Human Passions. They are comparable to Couperin's subtle personifications of emotion, but they are not written in a French style. Instead, they are just as imaginative as the Four Seasons within the restrains of the typical three-movement concerto form. The most performed of the group is the Violin Concerto in D major, RV 234, "L'inquietudine," with its tumultuous quality, but equally enjoyable is the Violin Concerto in E major, RV 271, which seems almost to poke fun at the lovestruck personality. These concertos deserve to be played a bit more expressively than the way they're heard here in performances by a group of musicians all from the Venice area, but they don't get in the music's way; violinist Giuliano Carmignola is one of the few violinists to have made a successful transition to Baroque-style playing from a conventional background. The final disc contains five concertos written for performance in churches, plus one odd Concerto "LDVB" (Grosso Mogul) in D major, RV 208, apparently added to fill out the disc. These date from various phases of Vivaldi's career, and listeners may find it difficult to detect a specific sacred style; the Concerto "Per la Solennita della S. Lingua di S. Antonio in Padua," RV 212 (CD 3, tracks 1-3), an early work, pushes the violin to the high extremes of its range.





Notes and Editorial Reviews


VIVALDI Violin Concertos: The Four Seasons; in e, “Il favorito”; in D, “L’inquietudine”; in c, “Il sospetto”; in E, “L’amoroso”; in C, “Il piacere; in D, “S. Antonio in Padua 1712”; in E, “Il riposo—per il Santo Natale”; Read more in F, “Per la solennita di S. Lorenzo”; in D, “Il grosso Mogul.” Concerto in F for 3 Violins, RV 551. String Concertos: in d, RV 128; in g, RV 153. Concertos in due cori: in D, RV 582; in C, RV 581 • Giuliano Carmignola (vn); Andrea Marcon (hpd, org); dir; Sonatori de la gioiosa Marca • BRILLIANT 93091 (3 CDs: 182:30)


Before Giuliano Carmignola, Andrea Marcon, and the Venice Baroque Orchestra recorded for Sony, Giuliano Carmignola, Andrea Marcon, and the Sonatori de la gioiosa Marca, founded in Treviso in 1983, assembled a number of collections of thematic sets of concertos by Vivaldi. They appeared on Divox 79404 ( The Four Seasons and other concertos, 1994, which I reviewed in 23:5), Divox 79406 (“Le Humani Passioni,” 1995, which I also reviewed in 23:5), and Divox 79605 (“Concerti per le solennità,” 79605) with excellent notes. In 2000, Carmignola and the ensemble (without Marcon) issued another collection on Erato 80225, “Concerti della natura,” which I reviewed in 24:2. Brilliant Classics has now gathered together the first three of these sets with new notes, and those who love Vivaldi have cause to celebrate their return.


Carmignola and Marcon took their Vivaldi with a tangy twist of lemon, pointing rhythms with irresistible verve, varying the timbres and textures of the string body as colorfully as Vivaldi seems to have intended, and highlighting the music’s drama with stark dynamic contrasts. Fabio Biondi with L’Europa Galante and Enrico Onofri with Il Giardino Armonico had also extended the range of expression established and circumscribed by early groups like I Virtuosi di Roma and I Musici to what might at first hearing seemed outrageous extremes. But none of these groups indulged the kind of period sound that had characterized some earlier recordings: unrelentingly nasal, whining, and abrasive. Carmignola, a former student of Nathan Milstein and Henryk Szeryng, certainly avoided harsh caricatures of violin tone (as also did Andrew Manze) but produced a tone that, while identifiable as emanating from an older time, nonetheless seemed highly compatible with these times. And Divox’s engineers (in cooperation with WDR in the second and third of the sets) presented the ensemble’s bold gestures in a thrilling showcase, reflecting the felicitous ambiance of the Treviso’s Church of San Virgilio.


The Four Seasons concertos bring manifold pleasures, their graphic effects enhanced in these performances principally by Carmignola’s virtuosity and by mercurial changes in mood and atmosphere, dizzying changes from thunder to repose, which soloist and ensemble seem to take as their principal textual argument. That focus doesn’t preclude the occasional coloristic detail, as at the very beginning of the final movement of “Winter.” Nor does it relegate the discovery of Vivaldi’s rich orchestral imagination to a back seat. And, again, both soloist and ensemble tie all these together with irresistible rhythmic élan. They fill out the rest of the first disc with heady realizations of the Concerto for Three Violins, RV 551, and a crisp reading of the Concerto for Strings, RV 128.


The second disc comprises musical sketches of “the human passions,” one of them from the larger set, op. 8 (“Il piacere,” op. 8/6). Andrew Manze included “Il favorito” and “L’amoroso” in his collection on Harmonia Mundi 907332, 28:4, and “Il piacere” in an earlier collection, Harmonia Mundi France 907230, 21:5—Milstein also used to play it and recorded it. “L’inquietudine” provides apt illustrations of Vivaldi’s representation of moods, influenced perhaps by the Baroque’s Affektenlehre , with certain kinds of rhythms “objectively” projecting emotions, as objective in their association as the descriptions in Descartes’s and Malebranche’s philosophical psychology. But Carmignola plays with an agitation that colors this kind of cut-and-dried expression with theatrical rhetoric. (Fabio Biondi plays this Concerto in a set of “Concerti con titoli” on Virgin 45424—24:2.) In fact, in reviewing this set in its earlier incarnation, I mentioned that the ensemble and soloist “achieve their effects on a larger dramatic scale uncommon in performances of Vivaldi’s concertos on period instruments,” a judgment that I’d still render. Yet their readings of the slow movements of “L’amoroso” and “Il piacere,” by turns delicate and tender, show that they can portray more than one character type. The second disc ends with the Concerto, RV 153, for strings.


In many ways the most impressive (and by far the longest) disc of the three, the third, collects concertos written for special occasions. Vivaldi appears to have intended some of these for his own use, and several of them reach up into what would have been the highest positions known at the time. Johann Friedrich Uffenbach heard Vivaldi in a concerto, the cadenza of which called for him to reach beyond the fingerboard; Uffenbach professed himself more startled than pleased by the results. The first concerto on the recording, written “for the solemnity of the holy tongue of Saint Antonio in Padua” seems to have been composed for a special trip to Padua, during which Vivaldi’s father intended that he perform it at the Basilica of Saint Anthony. Compared with the early recording of the Concerto by Piero Toso and I Solisti Veneti (reissued by Sony as 47662), the Sonatori adopt breakneck tempos, and Carmignola plays with coruscating brilliance. This version of the Concerto (Toso plays 212a, with a different slow movement) incorporates extended passagework into the first movement. A manuscript of the cadenza has appeared in sources like Walter Kolneder’s book on Vivaldi, but it doesn’t include the extended figuration in which Carmignola engages. Whatever effect Vivaldi himself may have had in his performances, Carmignola proves himself quite dazzling. “Il riposo—per il Santo Natale” provides a gentle contrast in this reading, with occasional bright sparkles in the last movement. The collection includes two of the three concertos of which I’m aware that Vivaldi wrote for what the old Schwann catalog used to call “two orchestras.” These two both bear inscriptions “Per la Santissima Assunzione di Maria Vergine”—the Assumption being Venice’s patronal feast; the concertos may have more of the secular than the sacred in their background as well as makeup, for La Serenissima celebrated this day with special splendor. Both concertos begin with triadic themes, both incorporate brilliant passagework and brilliant, eagle-aerie cadenzas, and both feature the interplay of an antiphonally divided orchestra (for San Marco?). This may be Vivaldi at his most ceremonially magnificent—and the same goes for Carmignola and the orchestra; but, once again, Carmignola adds something personal in the pungent ornamentation he provides for the skeletal slow movement Vivaldi furnished. Others have recorded the “Grosso Mogul,” including Viktoria Mullova, one of the superstar converts to period instruments (Onyx 4001, 30:5), who, I thought, didn’t appreciate its multum in parvo scale. And that’s Carmignola’s and Il Sonatori’s specialty.


Brilliant’s re-release brings to a more general audience some of the most invigorating Vivaldi I’ve heard. Essential for any Baroque collector’s library—even if you thoroughly disagree with Carmignola’s take on the composer.


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专辑曲目

CD1: Il cimento dell'armonia e dell'inventione, including le Quattro Stagioni

Concerto Op.8 No.1 in E major La Primavera (Spring)
01. Allegro
02. Largo e pianissimo sempre
03. Danza pastorale, allegro
Concerto Op.8 No.2 in G minor L'Estate (Summer)
04. Allegro non molto
05. Adagio- presto
06. Presto, tempo impetuoso d'estate
Concerto Op.8 No.3 in F major L'Autunno (Autumn)
07. Allegro
08. Adagio
09. Allegro, La Caccia
Concerto Op.8 No.4 in F minor L'Inverno (Winter)
10. Allegro non molto
11. Largo
12. Allegro
Concerto for 3 violins, viola & b.c. in F major RV 551
13. Allegro
14. Andante
15. Allegro
Concerto for strings & b.c.in D minor RV 128
16. Allegro non molto
17. Largo
18. Allegro

CD2: Le humane passioni

Violin Concerto in E minor RV 227 Il Favorito
01. Allegro
02. Andante
03. Allegro
Violin Concerto in D major RV 234 L'Inquietudine
04. Allegro molto
05. Largo
06. Allegro
Violin Concerto in C minor RV 199 Il Sospetto
07. Allegro
08. Andante
09. Allegro
Violin Concerto in E major RV 271 L'Amoroso
10. Allegro
11. Cantabile
12. Allegro
Violin Concerto in C major RV 180 Il Piacere
13. Allegro
14. Largo e cantabile
15. Allegro
Concerto For Strings & b.c. in G minor RV 153 Originale
16. Allegro
17. Andante
18. Allegro assai

CD3: Concerti Per Le Solennita

Concerto "Per la Solennita della S. Lingua di S. Antonio in Padua"in D major RV 212
01. Allegro
02. Grave
03. Allegro
Concerto 'Il Riposo-per il Santo Natale"in E major RV 270
04. Allegro
05. Adagio
06. Allegro
Concerto "Per la Solennita di S. Lorenzo" in F major RV286
07. Largo molto e spiccato
08. Largo
09. Allegro non molto
Concerto in due Cori "Per la Santissima Assunzione di Maria Vergine"in D major RV582
10. Allegro
11. Grave
12. Allegro
Concerto in due Cori "Per la Santissima Assunzione di Maria Vergine"in C major RV581
13. Adagio e staccato-allegro ma poco poco
14. Largo
15. Allegro
Concerto "LDBV"(Grosso Mogul) in D major RV208
16. Allegro
17. Grave, recitativo
18. Allegro

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