v

您的位置:VeryCD音乐古典音乐

音乐资源事务区


Rachel Barton Pine -《派尔/门德尔松,舒曼小提琴协奏曲选》(Mendelssohn & Schumann Violin Concertos, Beethoven Romances )[24 bits 96KHz][FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型全集作品
    发行时间2013年09月24日
  • 时间: 2015/02/15 10:23:02 发布 | 2015/02/15 12:41:31 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Mendelssohn & Schumann Violin Concertos, Beethoven Romances
专辑中文名派尔/门德尔松,舒曼小提琴协奏曲选
艺术家Rachel Barton Pine
古典类型全集作品
资源格式FLAC
版本[24 bits 96KHz]
发行时间2013年09月24日
地区美国
语言英语
简介

IPB Image

专辑介绍:

纬查.巴顿.派尔(Rachel Barton Pine)是一位充满热情,具有渊博音乐造诣的小提琴演奏家,更多次荣获芝加哥音乐大奖之『年度最佳古典音乐表演者』,她多张演奏专辑曾获得国际权威音乐杂誌<今日古典(Classic Today)>的满分推介。由著名指挥家克里斯托弗.马蒂亚斯.穆勒(Christoph-Mathias Mueller)带领"哥延根交响乐团(Gottingen Symphony Orchestra)"与及派尔合作带来的门德尔松(Felix Mendelssohn)的[E小调小提琴协奏曲,作品64(Violin Concerto in E minor,Op.64)]、舒曼(Robert Schumann)的[D小调小提琴协奏曲,WoO23 (Violin Concerto in D minor, WoO23]]、贝多芬(L.V.Beethoven)的[G大调第1给小提琴及乐团的浪漫曲,作品40(Romance for violin and orchestra No.1 in G major,Op.40)]和[F大调第2给小提琴及乐团的浪漫曲,作品50(Romance No.2 in F major,Op.50)],派尔以瓜奈里(Guarneri)於1742年制造的" 朱塞佩瓜奈里“ex-Soldat"来演奏,完全发挥出她高超多变、慑人气魄的琴技,名琴配以名家,就为乐迷带来优秀典雅的古典美乐。


[派尔/门德尔松,舒曼小提琴协奏曲选]

纬查.巴顿.派尔
[门德尔松及舒曼的小提琴协奏曲选]
Rachel Barton Pine
[Mendelssohn & Schumann Violin Cocnertos]
Rachel Barton Pine (小提琴)
Christoph-Mathias Mueller (指挥)
Göttinger Symphonie Orchester
CDR90000144 (1 disc)

Orchestra: Gottinger Symphonie Orchester
Conductor: Mueller
Composer: Mendelssohn, Schumann, Beethoven
Audio CD (September 24, 2013)
Number of Discs: 1
Label: Cedille Records
ASIN: B00DYZ80TG

A sympathetic, warm-hearted performance
By John J. Puccio TOP 1000 REVIEWER on October 14, 2013
Format: Audio CD
Felix Mendelssohn (1809-1847) premiered the Violin Concerto in E minor, Op. 64 in 1845, making it his last big-scale orchestral work. Audiences pretty much loved it from the start, and it has remained among the most-popular staples of the violin repertoire ever since, right up there with the violin concertos of Vivaldi, Bach, Beethoven, Mozart, Brahms, and Tchaikovsky. In Mendelssohn’s concerto the violin enters immediately, without introduction or fanfare, and Ms. Pine's interpretation of the piece is sweetly gentle. She does not race through the music to prove her energy and enthusiasm to the listener. Instead, she appears to view the work as an extension of the Midsummer Night's Dream music, the entire concerto sprinkled with fairy dust. She dances lightly through the notes, virtuosic, to be sure, yet with a tender, sympathetic step. When the music calls for big outbursts, certainly she's ready as the occasion demands. However, this is essentially a sensitive, contemplative account of the score.

The second-movement Andante is likewise sweet and gentle, with a touch of wistfulness, maybe nostalgia, thrown in. Ms. Pine never makes it sound sentimental, though, so we can't get too weepy-eyed over it. Rather, she keeps it grounded, simple, direct, and beautifully effective. Then, in the finale, she goes out with an appropriately cheerful, sprightly bounce, wonderfully happy and entertaining. This is Mendelssohn's music as we've always thought about it, frothy and enchanting.

The second longer item on the disc is the Violin Concerto in D minor, WoO 23 by Robert Schumann (1810-1856). It’s hardly a major repertoire item, being among Schumann’s final works and one that never saw a performance until some eighty years after the composer’s death. Ms. Pine admits in a booklet note that she had never played the music before Maestro Mueller persuaded her to learn and record it here.

While the Schumann is a fairly long and fairly dreary piece, Ms. Pine gives it her best shot. The soloist and conductor make some minor adjustments to the score, which they believe Schumann and the composition's dedicatee, violinist Joseph Joachim, would have approved. And there is no denying that Ms. Pine puts in a heartfelt performance. It's just that it's still a dour piece of music, perhaps reflecting the composer's deteriorating state of mind at the time of its composition. Yet there are sections of soaring lyricism that transcend the work's otherwise relentlessly stern countenance.

Moreover, Cedille's lovely recording quality further makes Ms. Pine's interpretation a pleasurable experience. The good, warm, resonant, lifelike sound complements the performance.

引用
John J. Puccio

引用
Rachel Barton Pine 瑞秋.巴顿.派恩 1974年生於美国芝加哥,三岁半开始学琴,七岁就登台,十岁与芝加哥交响乐团合奏,可以说是资赋优异的神童。 在家就学,每天练琴八个小时。

家里并不富裕,十四岁开始,不得不在一些婚礼场合或是乐团演奏以贴补家用。十七岁(1992)以最年轻及第一位美国人的身份赢得巴赫国际大赛的首奖及Jozsef Szigeti Violin Competition第二奖,还有国际克莱斯勒大赛的首奖。

1995年1月16日瑞秋在芝加哥搭地铁时,背在肩膀的琴盒被门夹住,被捲入366英呎远的轮下,经急救后,双腿截肢。 之后她控告芝加哥西北铁路公司要求赔偿,对方认为瑞秋是为了保护价值五十万美金的阿玛蒂名琴而受伤,所以应该负担大部分的责任。不过,陪审团显然并不这么认为。 经过年的休养,瑞秋重返乐坛。 2001年利用铁路公司的赔偿金,成立了以自己的名字为名的基金会。


生命的抉择 - 瑞秋巴顿的故事

当你有一把琴1617年制的阿玛蒂(Amati)名琴,每天带著它搭地铁上下课。 有一天离开地铁时,琴被门夹住了,如果你一鬆手,四百年的名琴可能就付之流水;如果你不放手,你的双腿可能要被截肢,一辈子就得坐轮椅,这时,你该如何抉择? 这不是凭空发想的问题,而是真实地发生在现实世界中,这位被迫抉择的小提琴家是位正值双十年华,爱打扮爱漂亮的女生,意外发生的当下,她死也不放手,成功的保护了手中的名琴,可是她自己却被捲入了轮下,双脚必须截肢。她就是瑞秋.巴顿(Rachel Barton Pine)。

瑞秋.巴顿何许人也? 光听名字或许觉得名不见经传,没听过。但是看到了她於1992年所录音,1994年发行的第一张唱片- Homage to Sarasate (向沙拉沙泰致敬)的封面时,大家就会恍然大悟。当年这张唱片发行时,音响发烧友可说是人手一张。 音响展的各个房间,都不约而同用这张唱片来示范高音的「甜美」。对我来说,除了录音的顶级效果外,它还带领我了解到沙拉沙泰的作品,那是不同於帕格尼尼的音乐,将小提琴炫丽的技巧,蕴藏在优美动人的旋律之中。有时不免会感动到热泪盈眶。二年后,瑞秋巴顿又在Dorian唱片公司优异的录音设备下的环境下,录制了一张李斯特的小提琴作品专辑。(李斯特以钢琴见长,眾所皆知,会有小提琴作品,倒是出乎意料之外)。然而,对於瑞秋巴顿的了解,也仅限於CD上的文字介绍,十数年来都不曾在报章杂誌中阅读到关於这位优秀小提琴家的任何报导,而这张Homage to Sarasate却始终伴随著我渡过许多欢乐及难过的时光。

八月初在书局閒逛,看到一本叫「科学月刊」的杂誌,封面却是一把小提琴,封面故事的标题是「一个化学家的小提琴之路-追寻琴弦间的梦幻音色」。 随手翻了一下,是关於小提琴涂漆的研究,由於读起来浅显易懂,没有充满艰涩的化学名词,就买回家阅读。 目前任职於哈佛大学医学院的戴桓青博士是一位神经科学的化学家,原本只是玩音响的发烧友及古典音乐爱好者。因缘际会,得知在美国德州的纳吉瓦里教授(Joseph Nagyvary)利用现代技术,可以制作出与史特拉底瓦里音色相当接近的小提琴。 戴博士亲自造访后就决定以八千元美金买下纳教授所制作的小提琴。买了之后,慢慢了解到在美国的制琴界对纳吉瓦里教授的风评不是很好,批评者很多。 但根据自己与之互动交谈的经验,戴博士深觉他的小提琴及化学材料的知识都很渊博,不会是个招摇撞骗的大骗子。於是就想提笔为文,为纳教授平反,同时也藉此证明自己所购买的琴确有其身价。 就在这样的动机下,原本只计画花两三个星期就完成的文章,没想到各方的资料蒐集越来越多,兴致越来越高,最后完成四十多页的评论,成为发表「美国小提琴协会」(Journal of the violin Society of America: VSP papers)的第一位台湾人。

这篇封面故事让我读得津津有味,尤其读到戴博士的研究过程与心得,更觉得他给所有每天上学的莘莘学子们,竖立了一个做学问的榜样。诚如他所说:

「回想自己开始研究名琴的过程,没有人告诉我这个题目值得研究,没有人说我适合研究这个,也没有人指导我如何研究这题目。因为好奇,因为有兴趣,就开始想办法,就想办法利用手上有限的资源,开始试图了解问题,这不就是研究的本意吗? 在西方有很多人花一辈子研究小提琴的历史与秘密,大部分都是为了兴趣。这让我重新认识到世界上还有一些人,他们研究一门知识,不会因此得到研究经费,得到学术著作的积分(impact factor score),或是取得学术工作,他们只是因为想知道,所以去研究。」 (P.602)

读著读著,当我看到下列文字时,就好像被雷打到的一样震惊:

「…… 更令人感嘆的是,美国有一位杰出的小提琴家:瑞秋.巴顿(Rachel Barton),在走出芝加哥的捷运时琴盒背带,被车门夹住,却为了抢救阿玛蒂名琴而不肯放手,结果被列车拖行捲入轮下,双腿必须截肢。虽然名琴毫髮无伤,她的琴艺也没有受到影响……」。 (P.602)

这是十多年来,我第一次在报章杂誌中读到关於瑞秋的报导,竟然是如此的震撼。基於同情,也基於好奇,强烈想知道她的生平过往及近况,於是到Google打上”Rachel Barton”,一下子我的疑问都得到解答,很多资料就在那裏,就等著有心人查阅。

瑞秋1974年生於美国芝加哥,三岁半开始学琴,七岁就登台,十岁与芝加哥交响乐团合奏,可以说是资赋优异的神童。 在家就学,每天练琴八个小时。 家里并不富裕,十四岁开始,不得不在一些婚礼场合或是乐团演奏,以贴补家用。十七岁(1992)以最年轻及第一位美国人的身份赢得巴赫国际大赛(J.S. Bach International Competition)的首奖。 同年,也赢得Jozsef Szigeti Violin Competition第二奖,还有国际克莱斯勒大赛(the International Fritz Kreisier Competition)的首奖。 此一首奖,得到Dorian唱片公司提供两张录音的合约,国际知名度大开,美好前程,指日可待。

1995年1月16日瑞秋在芝加哥搭地铁时,背在肩膀的琴盒被门夹住,被捲入366英呎深的轮下,经急救后,双腿截肢。 之后她控告芝加哥西北铁路公司要求赔偿,对方认为瑞秋是为了保护价值五十万美金的阿玛蒂名琴而受伤,所以应该负担大部分的责任。不过,陪审团显然并不这么认为。 经过两年的休养,瑞秋重返乐坛。 2001年利用铁路公司的赔偿金,成立了以自己的名字为名的基金会:Rachel Elizabech Barton Foundation,致力於推广黑人作曲家的古典乐作品;与那吉瓦里教授合作,将弦乐器出租或出借给优秀的年轻音乐家。 瑞秋本身也非常活跃,录制了许多唱片(由Cedile Records发行,国内无代理,市面上比较少见)。 与朋友合组了Trio Settecento三重奏,演奏巴洛克时期的作品;也参加Earthen Grave 演奏重金属音乐。

现在瑞秋所使用的琴是1742年由耶穌.瓜奈里(Guameri del Gesu)制造,名称为”Ex-Soldat”。 如果演奏17、18世纪的作品,瑞秋会使用1770年Nicolo Gagliano I 的小提琴。 至於那一把她意外时所保护的阿玛蒂名琴呢?我不知道。 瑞秋的官方网站并没有提及,甚至连她受伤的重大意外都隻字未提。

手提著几十万美金的乐器在街头行走,这是弦乐演奏家所独享的经验,因此所发生的趣闻也很多。曾有个小提琴家,一个不小心,把名琴一屁股坐下压扁了。 还有把名琴遗忘在纽约的某一计程车中,忘记带走的小提琴家。 还好司机「完璧归赵」,那位小提琴家特地赠票给这位好心的司机,聆听他的演奏会。两个月前,一位台湾的年轻音乐家,向奇美基金会借了把名琴到香港比赛,没想到在渡轮上打瞌睡,琴却被小偷偷走。 还好也是以喜剧收场,警方透过渡轮上的监视器抓到小偷,追回名琴。但就只有瑞秋的遭遇最令人感到遗憾与不舍。 不知道百年以后,当某人拉奏那把阿玛蒂名琴时,会不会记得有人为了保护它,而付出惨痛的代价?

Classical Candor
Comment Was this review helpful to you? Yes No
1 of 1 people found the following review helpful
Great Performances
By Joe on December 18, 2013
Format: Audio CD
I’ll leave it to you to look up the violinist Rachel Barton Pine’s story ([...]), but her work speaks for itself without the narrative, especially on her new CD with the Göttinger Symphony Orchestra under Christoph-Mathias Mueller. The album features Mendelssohn and Schumann’s Violin Concertos and Beethoven’s 2 Romances for Violin and Orchestra.
The album is almost worth it for the program notes alone. Pine’s program notes are lucid in their analysis of the works and the parallels between them. She augments her sound academic work with honest accounts of her experiences of the works, from her reticence to learn the Schumann to her always thinking “Yeehaw!” when she plays the last movement of the Mendelssohn.
The Mendelssohn is a fun, lighter piece from the standard repertoire. The form is basically classical, but there are moments here and there where he strayed from the classical conventions, including the cadenza and the transitions between movements. These moments shine. The audio quality is great and the orchestra never overpowers the soloist. Great stuff.
The album notes detail how the inclusion of the Beethoven Romances was an afterthought because they were ahead of schedule during the recording. If you’re a sucker for slow Beethoven rondos like I am, you’ve got the right album. The form is light and predictable, but the emotional content jammed into the form makes these pieces stand out.
The Schumann Violin Concerto has had a hard time entering the standard repertoire, and frankly you can hear why. The piece feels very long compared to other works on the album, and the virtuosity and difficulty for the violinist doesn’t come off as artistically gratifying or entertaining. It’s no fault of Pine’s, she SHREDS. It’s just not the best thing Schumann wrote.Read more ›
Comment Was this review helpful to you? Yes No
Excellent recording!
By R. Lee on March 2, 2014
Format: Audio CD
Knowing what Mrs. Pine has gone through in life, it is not difficult to hear her love of life in this Cedille CD. Track 4 and 8 are my favorite tracks. The danish musicians also did a wonderful job to support Mrs. Pine.
Comment Was this review helpful to you? Yes No
Five Stars
By Twinkler on October 19, 2014
Format: Audio CD Verified Purchase
Amazing performance!


Mendelssohn & Schumann Violin Concertos
Rachel Barton Pine, Violin
Göttinger Symphonie Orchester
Christoph-Mathias Mueller, Conductor
CDR 90000 144

Billboard chart-topping violinist Rachel Barton Pine joins forces with Germany's distinguished Göttinger Symphonie Orchester and its acclaimed principal conductor, Christoph-Mathias Mueller, to present Mendelssohn's celebrated violin concerto alongside the great, though lesser-known, concerto by Robert Schumann, plus Beethoven's elegant Romances for violin and orchestra. When the artists performed the Schumann in concert, they found the collaboration a revelatory experience. So they reconvened to record this program for listeners everywhere, with the invaluable help of multiple Grammy award-winning producer Steven Epstein.

"The Mendelssohn is one of those fiddle war horses that every young soloist plays but few can play as beautifully as [Pine]. Without resorting to any musical distortion, she invested the thrice-familiar phrases with a lyrical grace that seemed newly minted." — Chicago Tribune on Pine in concert



Review by James Manheim [-]

This recording by Chicago violinist Rachel Barton Pine has no right to work as well as it does. Funded through Kickstarter, it features the mid-level Göttinger Symphonie Orchester from Germany, and Pine takes on one of the absolute warhorses of the repertory, the Violin Concerto in E minor, Op. 64, of Felix Mendelssohn. How could she have anything to add? As it happens, her performance of the Mendelssohn is startlingly good and merits consideration from anybody at all looking for a recording of the work. Her differentiation between the themes of the opening movement is very strong, with the second subject forming its own island of repose within the movement. And her finale is a romping joy: she says that she first played the work as a neophyte in a family concert devoted to the Wild West, and you can still hear a vigorous fiddling quality in her reading. Also worthwhile is the still rarely performed Violin Concerto in D minor, WoO 23, of Robert Schumann. This work was suppressed after Schumann's death because it was thought to be too difficult to perform. Pine has an interesting angle on this. She reasons that the dedicatee of the work, Joseph Joachim, would have worked with him on revisions of the work, as he later did with Brahms on the latter's violin concerto, had not Schumann been suddenly incapacitated by mental illness. So she modifies the violin line. You can argue about this, but the changes do allow her to take the finale at a faster tempo than in most other recordings. And she keeps control over the large structure of the first movement, whose form is not easy to define. The two Beethoven Romances show Pine's capacity for simple lyrical lines, and the high quality of the recording as a whole is a quite unexpected surprise.


IPB Image

IPB Image



专辑曲目

MENDELSSOHN, Felix: Violin Concerto in E Minor / SCHUMANN, R.: Violin Concerto / BEETHOVEN, L. van: Romances (Barton Pine, C.-M. Mueller)

Mendelssohn, Felix
Violin Concerto in E Minor, Op. 64, MWV O14
1. I. Allegro molto appassionato - 00:12:28
2. II. Andante - 00:07:05
3. II. Allegretto non troppo - III. Allegro molto vivace 00:06:14

Beethoven, Ludwig van
Romance No. 1 in G Major, Op. 40
4. Romance No. 1 in G Major, Op. 40 00:06:56

Schumann, Robert
Violin Concerto in D Minor, WoO 23
5. I. In kraftigem, nicht zu schnellem Tempo 00:14:17
6. II. Langsam 00:06:16
7. III. Lebhaft doch nicht schnell 00:08:59

Beethoven, Ludwig van
Romance No. 2 in F Major, Op. 50
8. Romance No. 2 in F Major, Op. 50 00:08:33

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114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。