Awadagin Pratt （钢琴）
Telarc TEL-32664-PROMO DDD – 76:51
布拉姆斯的大提琴奏鸣曲，两部都是大提琴独奏中的巨著。Zuill Bailey 和服式标奇立异的黑人钢琴家 Awadagin Pratt 一起合作这张唱片，可听之处不单在这两首奏鸣曲，而是再加上几首布拉姆斯歌曲改编的短曲。
改编作品中还有“奏鸣曲乐章”，即是《F.A.E 奏鸣曲》中的谐謔曲。本来为小提琴而写，几 Bailey 稍稍一改，便移殖到大提琴上去。听惯了小提琴版的我，就有点不惯这首改编了：没有了小提琴般在那上紧了的高音上大刀阔斧运弓的刺激。不过，这个改编也是成功地保留了乐曲的神髓。
以上种种，都是前菜。第一奏鸣曲比较柔情，起码第一乐章如是，也很合适 Bailey 去演。比较跃动的第三乐章，总嫌他和钢琴家 Pratt 都稍欠爽朗俐落。不过，Bailey 似乎特别喜爱大提琴的低音 C 弦，他会趁有机会去使劲地拉响重复的低音，突出那份干枯粗糙的原始声音。
Zuill Bailey 【提琴幽幽】Brahms: Works for Cello and Piano│Zuill Bailey,Awadagin Pratt
Zuill Bailey 是享誉国际的大提琴手之一，在 Peabody Conservatory 与茱莉亚音乐学院习艺后，才华洋溢的他忙碌於全球各地演出，并与名指挥家Andrew Litton, Stanislaw Skrowaczewski, Itzhak Perlman等都有合作。2003年在美国古典发烧名厂Delos发行了个人首张同名专辑，果然艺高胆大，挑战了Francoeur、J.S. Bach、Beethoven、Mendelssohn、Chopin、Vieuxtemps 等六位大师的作品，展现出 Zuill 对各式曲风技巧皆驾轻就熟。2004年大提琴泰斗Janos Starker 80 大寿演奏会时，Zuill 为 Starker 亲选乐手之一，并担任专辑制作人，可见他的音乐造诣也深受前辈大师的肯定。
Zuill 目前於美国 University of Texas-El Paso 教授大提琴，其琴艺精湛洗炼，屡屡获得国际资深乐评的赞誉和推崇。Zuill 所使用的是义大利制琴大师 Matteo Gofriller 於 1693 年制造的古董名琴。这把琴也曾为布达佩斯弦乐四重奏的大提琴手 Mischa Schneider 所使用过。其音色气质出眾、高贵优美，再加上美国名厂 Delos 发烧录音的加持，全片听起来流畅自然、温暖通透，一个人静静品味欣赏实为心灵上、精神上的一大享受。
Awadagin Pratt 【提琴幽幽】Brahms: Works for Cello and Piano│Zuill Bailey,Awadagin Pratt
E 小调第一大提琴奏鸣曲，作品 38
F 大调第二大提琴奏鸣曲，作品 99
Audio CD (March 29, 2011)
SPARS Code: DDD
Number of Discs: 1
Styles Chamber Music
Recording Date September, 2010
AllMusic Review by Mike D. Brownell [-]
Though he wrote only two sonatas for the combination of cello and piano, Brahms certainly had some special regard for the cello that figured prominently in all of his chamber music output. It was the cello, after all, for which Brahms wrote his first instrumental duo sonata. The Op. 38 Sonata in E minor is an atypical composition, both as a cello sonata in general and a Brahms sonata in particular. Cast in only three movements (the central Adagio movement was removed and destroyed by the composer), the sonata does not explore the cello's soaring range or virtuosic capabilities. Rather, much of the score finds the cello in its lower, deep register, a fact that continually vexes artists as they struggle to achieve balance with the equally dark, robust writing for the piano. Cellist Zuill Bailey and pianist Awadagin Pratt do a remarkable job finding a pleasing middle ground between the piano completely dominating the cello or playing with such submission that richness of the score is lost. On this Telarc album, listeners have the surprisingly rare ability to hear every note in both parts. Pratt's playing is marvelously intricate, supple, and sensitive; Bailey tones down his often bravura playing and gives a performance filled with velvety, dark tone colors. Fast forward two decades to the Second Sonata, a work that is scored much higher in the cello's register and exploits both instruments virtuosic capabilities, and Bailey and Pratt are still spot-on in their balance and transparency of playing. Even listeners who have heard these sonatas 100 times will find something new and worthwhile on this Telarc disc.
Zuill Bailey, Awadagin Pratt
by Anthony Clarke on December 15, 2011 (December 15, 2011) filed under | Comment Now - See more at: http://www.limelightmagazine.com.au/Review...Azw.dpuf
Brahms's chamber music illuminated by two young Americans that could have been born to perform these works.
These two young Americans – Zuill Bailey (cello) and Awadagin Pratt (piano) – could have been born to perform these works. There is an absolute commitment in their performances; Bailey in particular stands out as one of the pre-eminent cellists of his generation, whose immaculate technical skills only serve his deep musicianship.
The Brahms chamber music is somehow contradictory. On one hand the works embody Romanticism in full flight, yet the essence of Brahms is his rigorous intellectual honesty, even austerity. The two aspects should clash. Here, with these performers, the one illuminates the other.
Brahms was a perfectionist and almost had to be forced to make some of his works available for performance. There are examples here, including the famous Sonatensatz, part of a scherzo written solely as a three-movement party diversion for the famous violinist Joachim, who was challenged to name which composer wrote each movement. Only after Brahms had died did Joachim realise the now-famous contribution deserved publication.
The two Brahms Sonatas for Cello and Piano are presented here alongside eight short works. The sonatas show another contradictory aspect to Brahms’s oeuvre in that the First is seemingly the more thoughtful, while the Second, an older man’s work, is somehow more daring and youthful. The sonority in both performances is impressive, Bailey producing a strong, deep-hued tone from his 1693 Matteo Goffriller cello.
The sound is, to my ears, just a little too closely recorded, but that’s an occasional defect which is swept away by the beauty of the compositions in these readings.
cello , recital , duet , chamber , American
- See more at: http://www.limelightmagazine.com.au/Review...Azw.dpuf
Cellist Zuill Bailey - whose 2010 recording of J.S. Bach's Suites for Solo Cello went straight to the top of the Billboard classical chart - will see his latest Telarc release focus on Brahms. It's the first time the cellist has paired on record with pianist and longtime friend Awadagin Pratt. The two have been performing live together since 1998, although they first met over a ping-pong table as students a dozen years before that.
Bailey says, "Of all the records I've made, this is the one I'm most proud of. It was a great experience working in the studio with one of my oldest friends, and I feel like Awadagin and I really caught the comet's tail on this one - it was intense, that's for sure. We worked incredibly hard, and we recorded about 80 minutes of music, trying to encompass everything Brahms does, from the boldly passionate to the beautifully lyrical."
Along with Johannes Brahms' Cello Sonata in E Minor (1865) and the Cello Sonata in F Major (1886), the album includes the composer's "Sonatensatz" (transcribed for the cello from the violin original) as well as transcriptions for cello and piano of seven of his songs (including the world-famous "Wiegenlied," or "Brahms' Lullaby"). The disc, produced by Grammy Award-winners Elaine Martone and Robert Woods, was the first recording made in the Oberlin Conservatory of Music's new state-of-the-art studio facility.
"The music of Brahms feels perfect for the cello," Bailey says. "It's so from the earth that there is something almost molten about it. And the engineers were able to deliver a bloom to the sound for this record that was ideal - it just glows, with the piano like a magic carpet. The Oberlin studio is the quietest I've ever been in, with zero extraneous noises; it was wonderfully freeing for us."
In the early E Minor Sonata, the cello takes on the voice of a "luxurious baritone," Bailey says, while in the later F Major Sonata, it's "more like a soaring tenor. I thought a lot about singing with this record - about the diction and breathing of singers, and how I could emulate that breathing with my phrasing, particularly on the songs without words, which have been a passion for me lately."
The album's rarely heard instrumental transcriptions of Brahms' songs range from "Liebestreu" (True Love), the very first of 200-plus lieder the composer published during his career, to the ever-familiar "Wiegenlied" of 1868. The disc also features "Melodien," "Sapphische Ode" (Sapphic Ode), "Feldeinsamkeit" (Solitude in the Fields), "Minnelied" (Love Song) and "Lerchengesang" (Lark Song).
The duo captured the "Lark Song" at the end of a very long session when the cellist thought they were spent, but Pratt "insisted," Bailey says, "and he was right. We didn't over-analyze it; we played it straight from the vocal score and let go, just taking a few passes. There seemed to be something special about it, this simplicity and innocence, so we decided to open the album with it. Then comes the instrumental drama of the E Minor Sonata, which has been a centerpiece of the recital repertoire Awadagin and I have played over the past decade or so."
Alongside the two Cello Sonatas and the songs without words is "Sonatensatz," or the so-called "F-A-E Scherzo," which comes from a collaborative violin sonata composed by Brahms, Robert Schumann and fellow composer Albert Dietrich in 1853 for violinist Joseph Joachim, who became a lifelong friend and collaborator of Brahms. The "F-A-E" of the nickname stems from Joachim's bachelor motto: "Frei, Aber Einsam" (Free, but Alone). Of playing the piece in a version for cello, Bailey says: "If I may say so, I think the `Sonatensatz' sounds just as good on the cello, if not better. The cello gives the music a new gravitas."
The Brahms album is the latest in a series of lauded Telarc releases from Bailey. Of last year's solo Bach album, Philadelphia Inquirer critic David Patrick Stearns wrote: "From the first notes, this set commands attention. . . and might be headed for classic status thanks to the combination of vision, temperament and technique that comes together to great effect."
The Bach album spent four weeks in a row at No. 1 on the Billboard classical chart, along with hitting No. 25 on the New Artists chart. Bailey has proved to have a knack for making such rarified music as solo Bach feel accessible and hip to broader audiences, having toured the suites in intimate clubs across the U.S. Prior to the solo Bach, Telarc released Bailey's recording of the complete works for cello and piano by Beethoven (with pianist Simone Dinnerstein) and "Russian Masterpieces," which features Shostakovich's Cello Concerto No. 1 and pieces by Tchaikovsky (with Martin West and the San Francisco Ballet Orchestra).
Coming to Brahms after recording Bach and Beethoven was an ear-opening experience, Bailey says: "I was able to hear Bach and Beethoven in Brahms to a degree that I hadn't before. Now, I hear the fugues of Bach in Brahms' music, and I hear what people in the 19th century meant when they said that Brahms picked up where Beethoven left off. Certainly, recording the last of `the three B's' capped something important for me. I'm a massive record-collector, and I've always treasured the way a recording documents a chapter in an artist's life. This album definitely captures a key juncture in mine."
Zuill Bailey performs on a 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, Bailey is artistic director of El Paso Pro Musica and professor of cello at the University of Texas at El Paso, as well as artistic director of the Sitka Summer Music Festival and Series, Sitka, Alaska. Renowned for bringing classical music to the broader culture, the cellist's many TV appearances have included a recurring role on the popular HBO series Oz, playing a musician who murdered a rival and found himself playing Bach behind bars. Born in Alexandria, Virginia, Bailey was graduated from Peabody Conservatory and the Juilliard School.
Awadagin Pratt, born in Pittsburgh, was the first student in the history of the Peabody Conservatory to be awarded diplomas in three performance areas: piano, violin and conducting. He won the Naumburg International Piano Competition in 1992, leading to a recording contract with Angel/EMI. He has performed at the White House for both Presidents Obama and Clinton. Pratt is currently associate professor of piano and artist-in-residence at the University of Cincinnati's Conservatory of Music.
Piano - Awadagin Pratt Cello - Zuill Bailey
01. Lerchengesang, Op. 70, No. 2
02-04 Sonata in E Minor, Op. 38
02. Allegro Non Troppo
03. Allegretto Qausi
04. Menuetto Allegro
05. Feldeinsamkeit - Op. 86, No. 2
06. Wie Melodien - Op. 105, No. 1
07. Sapphische Ode - Op. 94, No. 4
08. Liebestreu - Op. 3, No. 1
10. Minnelied - Op. 71, No. 5
11-14 Sonata in F Major, Op. 99
11. Allegro Vivace
12. Adagio Affettuoso
13. Allegro Passionato
14. Allegro Molto
15. Wiegenlied (Lullaby), Op. 49, No. 4