v

您的位置:VeryCD音乐古典音乐

音乐资源事务区


Artur Pizarro -《贝多芬钢琴奏鸣曲》(Beethoven Piano Sonatas)[FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型奏鸣曲
    发行时间2004年06月01日
  • 时间: 2014/11/25 12:58:48 发布 | 2014/11/26 18:49:39 更新
  • 分类: 音乐  古典音乐 

alanfish

精华资源: 2006

全部资源: 2007

相关: 分享到新浪微博   转播到腾讯微博   分享到开心网   分享到人人   分享到QQ空间   订阅本资源RSS更新   美味书签  subtitle
该内容尚未提供权利证明,无法提供下载。
专辑英文名Beethoven Piano Sonatas
专辑中文名贝多芬钢琴奏鸣曲
别名Linn Records
艺术家Artur Pizarro
古典类型奏鸣曲
资源格式FLAC
发行时间2004年06月01日
地区美国
语言英语
简介

IPB Image

专辑介绍:

他是22岁即夺利兹桂冠的葡萄牙神童

1968年出生于葡萄牙的阿图·皮萨罗,两岁时被祖母无意中发现他在钢琴方面特别有天赋。于是,祖母就开始对阿图进行比较有针对性的启蒙教育,每周都带他去听钢琴演奏会。著名钢琴家Berta da Nóbrega在发现阿图对音乐的惊人天赋后,立即将其收归门下,进行悉心指导。

4岁时,阿图·皮萨罗就已在里斯本电视台演出,这次的演出在葡萄牙引起了巨大的轰动,人们都在赞叹这位神奇的小神童。13岁时,阿图在里斯本圣保罗路易斯剧院举行了个人独奏音乐会,并开始与古尔本基安交响乐团合作演奏钢琴协奏曲,他出色的钢琴演奏技巧使他获得了在德国和法国的音乐学院深造的好机会。

  天赋加努力,阿图的演奏技巧飞一般的长进,国际钢琴大师凯拉·科斯塔被他的精神所感动,无条件收其为徒,并将他安排到美国堪萨斯大学跟随自己学习。

1987年,阿图·皮萨罗在里斯本摩塔钢琴大赛中获得自己人生中的第一个大奖。1990年,阿图·皮萨罗参加被认为国际四大钢琴比赛中最高难度的英国利兹国际钢琴比赛,并一举夺得冠军。迄今为止,尚未有中国人能问鼎该赛事冠军。

  他是诠释贝多芬作品最透彻的钢琴家

  十多年来,阿图·皮萨罗一直以杰出的艺术表现力闻名世界,他曾与众多全世界最具有影响力的指挥大师和交响乐团合作,并在全世界巡回演出。

  不过,阿图·皮萨罗最擅长的还是贝多芬作品,并且是全球为数不多可完整演奏贝多芬曲目的钢琴家之一。2003年到2004年间,他在英国伦敦的圣约翰史密夫广场剧院举办了完整的贝多芬奏鸣曲巡演,且8场音乐会全部在BBC中播出,盛况空前;2004年2月,他的贝多芬奏鸣曲巡演又获得英国皇家爱乐协会奖,被媒体誉为诠释贝多芬作品最为透彻的钢琴大师,从而赢得了“贝多芬之王”的美誉。

Artur Pizarro / Beethoven:Piano Sonatas

唱片公司:极光
作曲家:贝多芬
系列:Linn
音乐类型:古典音乐
唱片编号:CKD209
高价版 / CD / 1 片装

Conductor: Not Applicable
Composer: Ludwig von Beethoven
Audio CD (June 1, 2004)
Number of Discs: 1

...a gem of a recording
CKD 244 (Linn Records)

Beethoven's famous 'Pathetique', 'Moonlight', 'Tempest' and 'Appassionata' sonatas played to perfection by pianist Artur Pizzaro. 'An exceptional album of Beethoven from a rising young pianist'. Gramophone

引用
Produced by Philip Hobbs

Beethoven Piano Sonatas

Artur’s choice of instrument for the CD has been informed by intensive aural research into a large number of Beethoven piano cycles on disc. Though in many ways out of fashion, his choice of a Blüthner concert grand piano, model 1 allows him to create his own soundscape: “I selected a Blüthner because it’s more nimble than a normal 20th-century grand, more transparent in texture. I wanted something ridiculously expressive.”

“The popularity of these sonatas can probably be attributed to the public’s liking for titles, since those with titles are among the best loved.” So said the pianist Edwin Fischer; however unfair it may be on those Beethoven sonatas (or Haydn symphonies for that matter) lacking a sobriquet, the memorable nicknames undoubtedly helped to establish these works in the public imagination, where they have remained since Beethoven’s day.

Unlike the other works on this recording, the Grande Sonate Pathétique was so titled by its composer. Its mood of high seriousness is established in the Grave introduction, which turns out to be rather more than that. Its reappearance in the development and recapitulation looks forward to the “arrest/movement” polarization of the Op. 31/2 Tempest sonata. The popularity of the Pathétique is due in part to the straightforward appeal of the Adagio cantabile, a simple rondo whose memorable theme is sung out in the rich tenor register of the instrument. The concluding Rondo, despite the defiant “Beethoven-in-C-minor” final gesture, is lighter in mood than its preceding movements; its rather elusive theme, which Beethoven is said to have played “humorously”, is a world away from the brow-furrowed sentiments of the opening movement.

The “moonlight” title derives from a striking image from the pen of the poet and critic Ludwig Rellstab – “a boat visiting the wild places on Lake Lucerne by moonlight”. The predominantly low sonorities of the opening Adagio sostenuto certainly conjures up a crepuscular scene. Timothy Jones has suggested that the constant piano (or softer) dynamic and the desolate, tolling melody could be “a representation of Beethoven’s impaired auditory world and – at the same time – a lament for its loss”. The brief Allegretto – “a flower between two abysses” in Liszt’s telling phrase – is directed to be played attacca from the Adagio and serves as a moderately-paced bridge between the slow opening movement and the climactic finale. Beethoven employed a similar formal strategy both in Op. 27 No. 1 (like the Moonlight entitled Sonata quasi una fantasia) as well as the preceding Op. 26 sonata. In all of these works, Beethoven finds new ways of interconnecting materials between movements and of transferring weight to the finales. The concluding Presto agitato of the Moonlight transforms material from the Adagio sostenuto in a movement of astonishing drive and force.

Indirectly, we have Beethoven to thank for the “tempest” tag to his D minor sonata Op. 31 No. 2. Anton Schindler, one of Beethoven’s circle, reported that he once asked Beethoven to explain the “key” to the Op. 31/2 and 57 sonatas, to be gnomically advised “just read Shakespeare’s Tempest.” The story has the ring of truth about it; it was not the only time that Beethoven made reference to Shakespeare with regard to hidden “programmes” in his music. If it was his intention to link his genius with Shakespeare’s, it worked; during the nineteenth century, the notion became a critical commonplace. The D minor sonata opens with a stark opposition of materials; a soft, arpeggiated chord, marked Largo, followed by a nervous burst of active music, which has more than a hint of the opera house about it. The arpeggios take on an unsettling quality when they reappear at the beginning of the recapitulaion. They flower into strange recitatives, their poetry intensified by their very wordlessness. As Charles Rosen has remarked, Beethoven’s direction to hold down the sustaining pedal at this point lends them “a hollow and even cavernous quality like a voice from the tomb”. Both the arpeggiated chord and elements of the recitatives are employed in the succeeding Adagio, in which the concept of opposites is also continued. Here, the farthest reaches of Beethoven’s piano are exploited in a dialogue of extreme registers. In the concluding Allegretto, the arpeggio is transformed into the material for a nagging perpetuum mobile in which the intimation of the human voice, ever present during the first two movements, seems entirely absent.

Czerny declared that Beethoven’s Op. 57 sonata is “much too magnificent” for its Appassionata title. Beethoven disliked the nickname provided by his publisher, although he declared himself satisfied by the work itself. The enormous scale of its opening movement is symphonic both in structure and sheer volume; for the first time, a work for solo piano could challenge the power of an orchestra. The Appassionata could only have been conceived for a state-of-the-art instrument. In 1803, Beethoven acquired an Erard grand piano, which afforded him an extended treble range as well as considerably increased robustness. The Walter fortepiano on which he performed the Pathétique would have been reduced to matchwood by the shattering power of the fortissimo chordal assaults which Beethoven unleashes at various points in this stormy movement. The Andante con moto presages Beethoven’s visionary slow movements in his final sonatas. A stately, chorale-like theme is subjected to three variations, which ascend by degrees into higher registers of the instrument. As Donald Francis Tovey remarked, the Andante is “…a dream that must be shattered at the first hint of action.” The finale, a tumultuous Allegro ma non troppo, is a sonata form in which Beethoven directs the performer to repeat both the development and recapitulation, thereby creating an effective counterweight to the massive opening movement. In the coda, the pulse is further increased to a Presto for a savage, Dionysiac dance that breaks into a final, frenzied statement of the opening material. Programme Note by Sandy Matheson, Edinburgh, January 2003

Recorded at Potton Hall, Suffolk 16 - 18 October 2002
Artur Pizarro plays a Blüthner concert grand piano model 1 (280cm/9'2") supplied courtesy of the Blüthner Piano Centre, London W1
Artur Pizarro uses the Heinrich Schenker edition originally published by Universal-Edition A.G. Vienna in the republication by Dover Publications Inc.


IPB Image

IPB Image



专辑曲目

01. Sonata No. 8 'Pathétique' in C minor Op. 13 Grave; Allegro di molto e con brio 9:05
02. Sonata No. 8 'Pathétique' in C minor Op. 13 - Adagio cantabile 4:55
03. Sonata No. 8 'Pathétique' in C minor Op. 13 - Rondo (Allegro) 3:48
04. Sonata no. 14 'Moonlight' in C# minor Op 27/2 Adagio Sostenuto 6:41
05. Sonata no. 14 'Moonlight' in C# minor Op 27/2 - Allegretto 2:10
06. Sonata no. 14 'Moonlight' in C# minor Op 27/2 - Presto agitato 6:39
07. Sonata No. 17 'Tempest' in D minor OP 31/2 Largo 8:32
08. Sonata No. 17 'Tempest' in D minor Op. 31/2 - Adagio 8:44
09. Sonata No. 17 'Tempest' in D minor Op 31/2 - Allegretto 5:01
10. Sonata No. 23 'Appassionata' in F minor Op 57 Allegro Assai 9:56
11. Sonata No. 23 'Appassionata' in F minor Op 57 - 'Andante con moto 5:42
12. Sonata No. 23 'Appassionata' in F minor Op 57 - Allegro ma non troppo - Presto 7:07

正在读取……

这里是其它用户补充的资源(我也要补充):

暂无补充资源
正在加载,请稍等...

点击查看所有123网友评论

 

(?) [公告]留口水、评论相关规则 | [活动]每日签到 轻松领取电驴经验

    小贴士:
  1. 类似“顶”、“沙发”之类没有营养的文字,对勤劳贡献的楼主来说是令人沮丧的反馈信息。
  2. 提问之前请再仔细看一遍楼主的说明,或许是您遗漏了。
  3. 勿催片。请相信驴友们对分享是富有激情的,如果确有更新版本,您一定能搜索到。
  4. 请勿到处挖坑绊人、招贴广告。既占空间让人厌烦,又没人会搭理,于人于己都无利。
  5. 如果您发现自己的评论不见了,请参考以上4条。