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Amandine Beyer, Gli Incogniti -《库普兰: 神化 》(Couperin: Apotheoses )[24bits 88.2KHz][FLAC]

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    古典类型全集作品
    发行时间2014年09月09日
  • 时间: 2015/03/16 22:59:29 发布 | 2015/03/17 23:36:39 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Couperin: Apotheoses
专辑中文名库普兰: 神化
古典类型全集作品
资源格式FLAC
版本[24bits 88.2KHz]
发行时间2014年09月09日
地区美国
语言英语
简介

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专辑介绍:

Amandine Beyer
生於1974年法国普罗旺斯省,主修木笛及小提琴,二者皆有优异的表现。15岁进入法国巴黎高等音乐学院(Conservatoire National Superieur de Paris ) 主修小提琴,20岁取得最高文凭,同年继续深造专攻巴洛克小提琴,进入瑞士Schola Cantorum de Bâle 音乐院,师事巴洛克小提琴家Chiara Banchini。

经常与不同的乐团有不定期的合作演出,如 Mala Punica ( P. Memelsdorf) , La Fenice ( J. Tubéry) La petit Bande ( S. Kuijken) Hesperion XX ( J. Savall)等等。除了演奏之外,她也热衷於教学,并定期受邀於义大利L'Academia Montis Regalis学院及法国Barbaste教master class。

Francois couperin
库普兰(Francois couperin,1668~1733)法国作曲家。法国键盘音乐古钢琴乐派的中心人物。他是库普兰音乐家族中最著名的一人。也称「大库普兰」。自1693年起在凡尔塞宫任皇家音乐教师,教授皇家儿童。擅长创作键盘乐曲、器乐重奏曲、世俗歌曲及教堂音乐。大库普兰的主要动机是想把法国的古典传统和它特有的音乐风格於义大利的音乐风格结合起来。所作古钢琴曲多为标题性乐曲,内容大多反映凡尔赛宫廷生活,或描绘庭园景色、妇女肖像等,具有洛可可艺术风格,以繁縟的装饰音为其特点。出版有《古钢琴曲集》、《古钢琴弹奏法》。



从路易十四至啟蒙时期,义法两国之间的音乐常处於一种奇妙的爱恨交织情结。17世纪后半至18世纪初法国音乐的代表,莫过於富兰梭瓦.库普兰。

本辑曲目是他器乐合奏曲中相当受欢迎的「向柯列里致敬」与「向卢利致敬」。

两首作品的各乐章皆附上标题,前者是库普兰使用他发明的「混搭风格」完成的义大利风大型奏鸣曲,一开始描写柯列里於音乐之神居住的巴纳塞斯山下祈求繆斯能接引他上山,末乐章描写柯列里对阿波罗与繆斯的感谢。

「向卢利致敬」则更尝试让音乐能像剧本一般说故事,里面不仅把柯列里与卢利两人都拉了进来,并以不同音域试图拼贴模仿两人的音乐风格,作为两人对话的感觉。

在传统法式趣味与新兴充满魅力的义式风格的夹缝中摆盪的年代,库普兰极力的想融合两者音乐风格。两首乐曲中间还穿插了雷贝尔的作品,对同样身为宫廷音乐家的雷贝尔而言,里头包含了对卢利这位伟大前辈的讚美之情。Ricercar一字在义大利文中是「寻找」之意,如同利恰卡尔古乐团的成立宗旨,1985年乐团成立以来便以许多优质录音而闻名,特别是德国巴洛克清唱剧与器乐曲。




库普兰: 神化 F. Couperin: Apotheoses & Autres Sonades
作者 / 法国隐士古乐团/ 阿蒙丁.拜尔 Gli Incogniti/ Amandine Beyer
出版社 / HARMONIA MUNDI SA
出版日期 / 2014/08/27
商品语言 / 无

室内乐

帕那斯山,或科莱里颂(Le Parnasse ou l'apothéose de Corelli,1724年)
吕利颂(Concert en forme d'apothéose à la mémoire de l'incomparable M. de Lully,1724年)





Release Date September 9, 2014
Duration 57:16
Genre Classical
Styles Chamber Music
Recording DateJanuary 4, 2014 - January 7, 2014

Review by James Manheim

French Baroque violinist Amandine Beyer and her group Gli Incogniti have gained a reputation for lively performances of Baroque chamber music but this one is going to be tough to beat. It pairs the two François Couperin works titled "Apotheosis," one devoted to Couperin's French predecessor Lully, the other to Arcangelo Corelli. They're a fascinating pair, both aimed at the reconciliation of Italian and French styles, but in different ways, with Italianate instrumental work grafted with exquisite grace onto French court rhythms in the former, and French ornament added to a loose sonata structure in the latter. Beyer's violin seems almost to bloom from its surroundings, and the playing of all the musicians has a most attractive combination of crispness and warmth. Another attraction is the presence of a pair of early Couperin works designated "sonades," framing the two Apothesoses; these are rarely heard and put Couperin's later attempts to "reunify the tastes" into an interesting perspective. Add in superior sound from Harmonia Mundi, and this is, in sum, a release that may well be definitive for these works.

引用
Beyer, Gli Incogniti - Couperin: Apotheoses (2014)
FLAC (tracks) 24 bit/88.2 kHz. Digital Booklet. 1.08 GB
Genre: Classical. Official Digital Download - Source: eClassical

When he published his two Apothéoses in memory of two great masters of music in 1724-25, François Couperin was asserting his desire to promote a meeting of the French and Italian styles – from a very Gallic point of view, naturally. The idea was to convince the French Muses that henceforth one could say sonade and cantade in their language – a strategy already pursued in the much earlier La Sultane and La Superbe. But, far from blindly imitating his idols, Couperin takes inspiration from their styles and adapts them to his own brio. The result is a delight for all to share with the musicians of Gli Incogniti and Amandine Beyer, whose first harmonia mundi recording this is.

En publiant dans les années 1724-25 ses deux “Apothéoses” à la mémoire de deux grands messieurs de la musique, François Couperin affirme la volonté de promouvoir la rencontre des styles français et italiens... d’un point de vue très français, bien sûr. On fera croire aux muses françaises que l’on dira désormais sonade et cantade dans leur langue – en témoignent La Sultane et La Superbe, largement antérieures. Loin d’imiter aveuglément ses idoles, Couperin s’inspire de leurs styles, il les adapte à sa propre verve : un plaisir à partager sans modération avec Gli Incogniti dont cet enregistrement marque la première collaboration d’Amandine Beyer avec harmonia mundi.

Als François Couperin 1724/25 seine zwei Apothéoses in Erinnerung an zwei große Herren der Musik veröffentlichte, bekräftigte er damit seinen Wunsch, den französischen und italienischen Stil einander anzunähern … freilich aus einer sehr französischen Sicht der Dinge. Er wollte den französischen Musen weismachen, dass man künftig in ihrer Sprache von sonade und cantade sprechen werde – wovon La Sultane und La Superbe schon viel früher zeugen. Doch weit davon entfernt, seine Idole blind zu imitieren, ließ sich Couperin von deren jeweiligem Stil inspirieren und passte ihn seinem eigenen Temperament an. Es ist ein Vergnügen, diese Erfahrung mit Gli Incogniti und Amandine Beyer zu teilen, die hier ihre erste Aufnahme für harmonia mundi vorlegen.

Composer: François Couperin
Performer: Amandine Beyer
Conductor: Amandine Beyer
Orchestra/Ensemble: Gli Incogniti


Reviews: The ensemble Gli incogniti, led by Amandine Beyer, makes their harmonia mundi début with this album of chamber music by François Couperin. When he published his two Apothéoses in memory of two great masters of music in 1724-25, François Couperin was asserting his desire to promote a meeting of the French and Italian styles – from a very Gallic point of view, naturally.

The idea was to convince the French Muses that henceforth one could say sonade and cantade in their language – a strategy already pursued in the much earlier La Sultane and La Superbe. But, far from blindly imitating his idols, Couperin takes inspiration from their styles and adapts them to his own brio.

The result is a delight for all to share with the musicians of Gli Incogniti and Amandine Beyer, whose first harmonia mundi recording this is.

Review by: David Vernier "ClassicsToday"
Sometime in the 1980s an ensemble called Fretwork released a recording that captured the sound and style of viol consort music as had never been done with such technical brilliance and affecting musicality. And the recorded sound was extraordinarily rich and warmly resonant, the melodies ingratiating, the harmonies soul-satisfying–you could just play the disc over and over and always get the same feeling of congenial calm. This is not a program of viol music, but it has the same spirit as that earlier Fretwork disc–and virtually the same effect (and affect).
Forget trying to understand the music on hand by reading the disc’s liner notes, which have less to do with the music and more to indulge regarding rhetoric and mythology. I have to admit that my intellectual resources are stretched when I read such passages as: “…it is precisely this tension, this confrontation of disparate elements, this delicate rhetorical and political balance, that makes the music of the French composers of the time so fascinating a world: it goes through two mediators, it sets up two triangles, often interpreted as antagonistic–Grace and Passion. It is worth noting here the Rumeur souterraine of the Apothéose de Lully, an avowed paraphrase of the concerti grossi of Corelli, associated with ardent sentiment: this intrudes between a divine Descente, noble and march-like, and a Plainte, an expression of intimate feeling, the instruments instructed to play very gently, in loure time. Each identity possesses its rhetorical weight and thus erects a theatrical framework.” Thankfully, we can just listen to the music and escape any confrontations with mediators and triangles.
And the music is wonderful. Couperin’s tributes to Corelli and Lully, laden with personalized stylistic and classical mythological references–Parnassus, Apollo, Muses, Hippocrene–smooth across the ear like the proverbial butter on warm pancakes. The combination of violins, keyboard, theorbo, and gamba easily give the impression that no more ideal group of instruments ever could have been conceived, this is such luxurious yet so intimate and so amazingly easy to listen to. And there are at least a few surprises, including the occasional, wonderful violin duets, and the gorgeous, mystifyingly beautiful first movement of La Sultane, which sounds like it comes from another time and place, a yet-unexplored world far removed from the conventional musical terroir of late-17th-century France.
Violinist Amandine Beyer & Co. are superb musicians whose first-rate performances and dedication to this project give us cause to take both a newly respectful look at these works and to cast a freshly interested eye on this composer’s non-keyboard, chamber compositions. My only complaint is that the subtitles, movement titles, and descriptions thereof are given only in French. Why? Yes, I can decipher them, armed with several years of French language study and my trusty French dictionary–but this shouldn’t be necessary in today’s world. What’s the problem with just giving us the translations? Anyway, don’t let this stop you from an ethereal listening experience. Highly recommended.


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专辑曲目

La superbe, Sonade en trio. Bibliothèque Municipale de Lyon Ms. Mus. 129.949
01. I. 1’55
02. II. 0’47
03. III. Très lentement 1’26
04. IV. Légèrement 1’25
05. V. Air tendre 1’20
06. VI. Gayement 0’57

Concert instrumental sur le titre d’Apothéose
composé à la mémoire immortelle de l’incomparable Monsieur de LULLY. Paris, 1725
07. Gravement. Lulli aux Champs Elisés: Concertant avec les Ombres liriques. 2’31
08. Gracieusement. Air pour les mêmes 2’00
09. Trés viste. Vol de Mercure aux Champs Elisés, pour avertir qu’Apollon y va descendre. 0’28
10. Noblement. Descente d’Apollon qui vient offrir son violon à Lulli, et sa place au Parnas 2’31
11. Viste. Rumeur souteraine causée par les auteurs contemporains de Lulli 0’30
12. Dolemment. Plaintes des mêmes: pour les Flûtes ou des violons très adoucis. 2’17
13. Très légèrement. Enlévement de Lulli au Parnasse 1’02
14. Largo. Accüeil entre Doux et Agard, fait à Lulli par Corelli et par les muses italiénes. 2’28
15. Gracieusement. Remerciment de Lulli à Apollon 2’09

Apollon persuade Lulli et Corelli, que la réünion des Goûts François et Italien doit faire
la perfection de la Musique. Lulli et les muses Françoises. Corelli et les muses italiénes. Essai en forme d’ouverture
16. Elégamment, sans lenteur 1’15
17. Légèrement 1’25
18. Air léger / Second air 2’47

Lulli joüant le sujet et Corelli l’acompagnant. Corelli joüant le sujet à son tour, que Lulli acompagne.
La Paix du Parnasse faite aux conditions sur la remontrance des muses françoises que lorsqu’on
y parleroit leur langue, on diroit dorénavant Sonade, Cantade; ainsi qu’on prononce,
ballade, Sérénade; etc. Lulli et les muses Françoises. Corelli et les muses italiénes. Sonade en Trio
19. Gravement 2’11
20. Vivement. Saillie 1’37
21. Rondement 1’28
22. Vivement 1’42

Le Parnasse, ou L’apothéose de Corelli, Grande Sonade en Trio. Paris, 1724
23. Gravement. Corelli au piéd du Parnasse prie les muses de le recevoir parmi elles. 1’45
24. Gaÿment. Corelli charmé de la bonne réception qu’on lui fait au Parnasse, en marque sa joye. 2’04

Il continüe ave ceux qui l’accompagnent.
25. Notes égales et coulées, et modérément. Corelli buvant à la source D’hypocrêne sa troupe continue 2’08
26. Vivement. Entouziasme de Corelli causé par les eaux D’hypocrêne 1’00
27. Notes égales et coulées. Corelli aprés son Entouziasme s’endort; 2’13
et sa troupe joüe le sommeil suivãt très doux.
28. Vivement. Les muses reveillent Corelli, et le placent auprés D’Apollon 0’40
29. Gaÿment. Remerciment de Corelli 2’13

La Sultane* Sonade en quatuor. Bibliothèque Municipale de Lyon Ms. Mus. 129.949
30. I. 3’18
31. II. 1’48
32. III. Air. Tendrement 1’00
33. IV. 1’04
34. V. Légèrement 0’48
35. VI. 1’04

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