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Rachel Barton Pine -《魔鬼的震音》(Instrument of the Devil)[iTune LP] [Alac]

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  • 摘要:
    古典类型全集作品
    发行时间1998年12月02日
  • 时间: 2015/05/13 14:18:31 发布 | 2015/05/13 15:35:04 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Instrument of the Devil
专辑中文名魔鬼的震音
艺术家Rachel Barton Pine
古典类型全集作品
版本[iTune LP] [Alac]
发行时间1998年12月02日
地区美国
语言英语
简介

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专辑介绍:

小提琴高手 Rachel Barton 与钢琴家Patrick Sinozich首度合作,奏出多首令人著魔的乐曲。女小提琴手韦楚‧帕顿Rachel Barton如鬼魅般的炫技演出,拉奏多 “一个令人惊异,充满娱乐烈焰的独奏节目。”(FANFARE双月刊) “变化万千的弦技演出!”(Laser Disc Gazette) “这张以恶灵主题的录音,最令人震惊的是女小提琴手Rachel Barton异於常人的弦技演出……不能错过的录音!”(American Record Guide) “一张独特,出色的唱盘,爱好小提琴作品的乐迷不能错过。”



INSTRUMENT OF THE DEVIL

Saint-Saens: Danse Macabre; Tartini: Devil's Trill Sonata; Liszt/Milstein: Mephisto Waltz; Bazzini: Round of the Goblins;Berlioz: Dream of a Witches' Sabbath "Symphonie Fantastique; De Falla: Dance of Terror "El Amor Brujo"; Paganini: The Witches; Ernst: Grand Caprice on Schubert's Der Erlkonig; Stravinsky: The Devil's Dance "L'histoire du soldat"; Sarasate: Faust Fantasy.

Rachel Barton (violin) and Patrick Sinozich (piano), with David Schrader (harpsichord), John Mark Rozendaal (cello) & John Bruce Yeh (clarinet)

Virtuoso American violinist, Rachel Barton follows her best selling disc of Concertos by Black Composers with this spectacular recording of violin display pieces on satanic themes. Miss Barton's ex-Lobkowitz Amati violin is presented to special effect in these splendid Bill Maylone recordings.

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。

作者 / Rachel Barton Pine/ Patrick Sinozich 瑞秋.巴顿.派恩
出版社 / Cedille Records
出版日期 / 2011/12/26
商品语言 / 无

引用
Performer: Rachel Barton, Sinozich, Tartini, Liszt, Paganini, et al.
Audio CD (December 2, 1998)
Number of Discs: 1
Format: Import
Label: Cedille
ASIN: B00000DGNA

Instrument Of The Devil / Rachel Barton, Patrick Sinozich

Release Date: 12/02/1998
Label: Cedille Records Catalog #: 41 Spars Code: DDD
Composer: Camille Saint-Saëns, Giuseppe Tartini, Franz Liszt, Hector Berlioz, ...
Performer: Rachel Barton Pine, Patrick Sinozich, David Schrader, John Mark Rozendaal, ...
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 18 Mins.


Notes and Editorial Reviews
The devil's a fiddler extraordinaire: If you doubt it, watch him play baubles by Paganini in The Witches of Eastwick or a remarkable variation on The Devil s Dream in The Devil and Daniel Webster. Bach and Bruckner wrote for God, but who wrote the music for His infernal adversary? Unsavory types like Liszt, Berlioz, Paganini, and Ernst, among others; and their musical sketches are just a bit too lifelike for comfort, especially as Halloween approaches. In fact, Cedille Records, releasing Rachel Barton's collection in time for the celebration, included packages of Red Hots with review copies (which I assume the Editor ate before passing the disc on to me).

In earlier reviews, I've noted a slenderness in Rachel Barton's tone (specifically in Handel Sonatas, Cedille CDR90000 032, Fanfare 21:1 and in concertos by black composers, Cedille CDR 90000 035, 21:5). She must have been washing down steaks with raw eggs in the meantime, because her sound in her new release could knock you out of your seat, as at the beginning of Saint-Saëns's Danse macabre or the end of Milstein's Mephisto Waltz (after Liszt). Overcoming one technical challenge after another with intimidating self-confidence, she and pianist Patrick Sinozich create a sinister atmosphere in Saint-Saëns's Danse. Tartini's original version of his "Devil's Trill," no longer such a novelty as when Eduard Melkus recorded it on LP (Archiv 2533 086), still hasn't received the same lengthy roster of sulfurous recordings as has Kreisler's edition. Andrew Manze showed how far a half-cracked imagination could take the sonata (Harmonia Mundi USA, HMU 907213, 21:5), but Barton has achieved a similarly exciting and somewhat more ingratiating effect on her modern instrument (actually not so modern—the "ex-Lobkowicz" Antonius and Hieronymous Amati of 1617, beautifully represented in the booklet)—simply by making the most of the original (and spikier) harmonies at tempos that are, in the fast movements, at least, among the quickest I've heard. And although her ornamentation of the repeated sections hews closer to the traditional line than did Manze's, it's both idiomatic and highly theatrical. Heifetz's adoption of Bazzini's Dance of the Goblins nearly knocked it out of the ring; and it occasions one of the few unfavorable comparisons with other artists: Even if she could match Heifetz's speed in the left-hand pizzicatos, Barton's dancing seems left-footed. But there's no such heavy labor in her daunting gallop though the night in Ernst's Erlkönig transcription. Leila Josefowicz (Philips 446 700-2) made more of the dialog between the riders, but hardly left the listener so breathless. Barton's performance charges with a frenzy similar to Ingolf Turban's (Claves CD 50-9613, 20:6). The violin is no Et? clarinet, and it's as hard to imagine any wholly successful transcription of Berlioz's Witches' Sabbath. Barton and Sinozich's cauldron does occasionally bubble, though, with the performers' enthusiasm as the main ingredient. The inclusion of Stravinsky's Devil's Dance in his own trio version is a stroke of macabre genius, and Sarasate's Faust Fantasy, less familiar than its counterpart by Wieniawski, is exceptionally welcome.

The detailed notes, excellent photography, as well as the larger-than-life presence the engineers have accorded the performers, enhance the appeal of a release that deserves a place in every violinist's library. A frightfully good, thoroughly entertaining fire and brimstone recital, warmly (or, in keeping with the theme, hotly) recommended. Look out, Jack Nicholson!



DEVILISH WORKS FOR VIOLIN
PLAYED WITH SPIRIT ON NEW CD

Rachel Barton Explores Instrument’s Diabolical Image

On Instrument of the Devil, gifted young violinist Rachel Barton displays her technical prowess and the instrument's emotional range in an unusual, virtuosic program that, in her words, offers listeners something other than "the usual potpourri of encores."

The new CD explores the mythic and frequent literary associations of the violin with death the Devil. With pianist Patrick Sinozich and other collaborators, Miss Barton performs fiendishly difficult works by Saint-Saëns, Tartini, Liszt, Bazzini, Berlioz, De Falla, Ernst, Paganini, Stravinsky, and Sarasate. The novel violin CD was inspired in part by pianist Earl Wild’s recording of Liszt’s music on diabolical themes (The Demonic Liszt), Miss Barton says.

The cover photo on Cedille’s generous, 16-page CD booklet shows Miss Barton peering out from a hooded cape. A disembodied pair of outstretched hands from the underworld offers up a flaming violin. An essay by musicologist Todd E. Sullivan of Indiana State University traces the origins of the violin’s otherworldly associations back to ancient Greek religious cults, who identified musical instruments with deities and their ethical attributes. By the 1500s, violins were linked with dancing, an activity denounced by religious conservatives. Tales of demonically endowed fiddle players first emerged during the 17th century -- an image that endures in today’s pop culture.

Miss Barton says she has been fascinated by the paradox that the violin has developed a diabolical image in popular imagination, while at the same time it symbolizes the sound of tender emotions and romantic love. "In the movies, when people fall in love you hear violins," she says.

Lest anyone get the wrong idea, Miss Barton points out that she is a regular churchgoer who believes musical talent is a God-given blessing. Her fiendish technique comes “from constant practice,” not a pact with the devil, she promises. “And there’s no hidden message if you play the CD backward.”

The CD opens with a dramatic prelude: the violin-made sound of bells tolling midnight in Saint-Saens' arrangement of his symphonic poem Danse Macabre, Op. 40. With a penchant for historically informed performances, Mss Barton performs Tartini's Sonata in G minor ("The Devil's Trill") from a 1798 first edition, rather than Kreisler's familiar, romanticized version. She’s joined by harpsichordist David Schrader and cellist John Mark Rozendaal from her acclaimed recording of Handel violin sonatas (Cedille CDR 90000 032).

Liszt's Mephisto Waltz is a piano piece that depicts the Devil playing a frenzied dance on the violin. In a turnabout, Miss Barton performs Nathan Milstein's monstrously challenging arrangement for solo violin. Bazzini's Round of the Goblins is one of Miss Barton's standard encores. Even without the theatrics of live performance, this addictive musical confection is a crowd-pleaser.

In the great tradition of virtuoso violinist-composer-arrangers, Miss Barton co-wrote and performs, with pianist Sinozich, and original transcription of Berlioz's Dream of a Witches' Sabbath from Symphonie fantastique, Op. 14 -- a familiar theme in an unusual guise. "I tried to stay true to Berlioz's score, without any gratuitous technical display," Miss Barton says. "But the arrangement turned out to be demanding nevertheless."

Polish violinist Pawel Kochanski, a contemporary of Manuel de Falla, transcribed several of the Spanish composer's works. Miss Barton performs his version of the Dance of Terror from El amor brujo (Love, The Magician), depicting the ill-timed appearance of a lover's angry ghost.

Heinrich Wilhelm Ernst's Grand Caprice on Schubert's Der Erlkönig, Op. 26, is considered one of the most difficult works ever written for solo violin. The violin assumes three vocal roles and the piano's ubiquitous galloping-horse leitmotiv. The demands of providing distinct characterizations for the father, the young son, and the demonic Erl-King intent on stealing the child's spirit, make this piece, in Miss Barton's words, "a real finger-twister."

No disc exploring the associations between the Devil and the violin would be complete without a work by the great nineteenth-century virtuoso Niccolo Paganini. Miss Barton, winner of the Paganini Caprice Prize at both the Szigeti (Budapest, 1992) and Paganini (Genoa, 1993) competitions, has chosen to include Paganini's The Witches, Op. 8. This work displays the composer's "whole bag of virtuoso tricks," Sullivan writes. "Technical difficulties . . . combined with the enchanted subject matter helped foster the growing association between Paganini and the Devil."

Stravinsky's The Devil's Dance comes from the trio version of his L'Histoire du soldat. "I feel a real affinity for Stravinsky's percussive, rhythmic use of the violin. It's a different approach to the instrument," Miss Barton says.

Of the many instrumental fantasies based on Gounod's Faust opera, Wieniawski's is the most familiar for violin -- and the most physically challenging. But Miss Barton and producer James Ginsburg felt Pablo Sarasate's version was musically superior and more in the diabolical spirit of Gounod's original. Miss Barton earned a reputation as a stellar Sarasate interpreter with her acclaimed CD, Homage to Sarasate ("What a pleasure to hear his delicious music performed with such verve! - Fanfare).

The 23-year-old Chicago-born violinist holds prizes from many of the world’s leading competitions. She has appeared as soloist with major orchestras across Europe and North America including the Chicago, St. Louis, Montreal, Vienna, and Budapest Symphony orchestras, working with conductors such as Semyon Bychkov, Neeme Jarvi, Erich Leinsdorf, and Zubin Mehta. She plays the “ex-Lobkowicz” A&H Amati of 1617, on generous loan from her patron.

Cedille Records (pronounced say-DEE) is dedicated to showcasing Chicago’s most noteworthy classical artists. The label is an arm of the nonprofit Chicago Classical Recording Foundation.

# # #

Instrument of the Devil
Rachel Barton Pine, violin
Patrick Sinozich, piano
Cedille Records CDR 90000 041


引用
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?


IPB Image

IPB Image



专辑曲目

01. Danse macabre, symphonic poem in G minor, Op. 40
02. Sonata for violin & continuo in G minor, B. g5 ('The Devil's Trill'): I. Larghetto Affectuoso
03. Sonata for violin & continuo in G minor, B. g5 ('The Devil's Trill'): II. Tempo guisto della Scuola Tartinista
04. Sonata for violin & continuo in G minor, B. g5 ('The Devil's Trill'): III. Sogni dellautore: Andante
05. Mephisto Waltz (I & II), for piano No. 1 (Der Tanz in der Dorfschenke), S. 514 (LW A189)
06. La Ronde des Lutins, scherzo fantastique for violin & piano, Op. 25
07. Symphonie fantastique for orchestra ('Episode de la vie d'un Artiste...en cinq parties'), H.48 (Op. 14): Dream of a Witches' Sabbath
08. El Amor brujo, chamber version for 2 violins, viola, cello, bass & piano, G. 48: Dance of Terror
09. Grand caprice on Der Erlkönig, for solo violin (after Franz Schubert), Op. 26
10. Le streghe, variations for violin & orchestra in E flat major, Op. 8, MS 19
11. L'histoire du soldat (The Soldier's Tale), suite transcribed for violin, clarinet & piano: The Devil's Dance
12. Fantasy on Gounod's 'Faust,' for violin & orchestra (or piano), Op. 13

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