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Avi Avital -《韦瓦第作品演奏辑》(Vivaldi)[24bits 96KHz][FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2015年03月27日
  • 时间: 2015/07/12 00:40:14 发布 | 2015/07/13 10:14:12 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Vivaldi
专辑中文名韦瓦第作品演奏辑
艺术家Avi Avital
古典类型全集作品
资源格式FLAC
版本[24bits 96KHz]
发行时间2015年03月27日
地区美国
简介

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专辑介绍:

DG 4794017(1CD)028947940173
威尼斯情缘:韦瓦第作品演奏辑

Avi Avital / Vivaldi 威尼斯情缘:韦瓦第作品演奏辑
★艾维‧艾维塔/曼陀铃
☉佛瑞兹,男高音/埃斯法哈尼,大键琴/威尼斯巴洛克管弦乐团

以「精巧敏锐的演奏」,还有「让人目瞪口呆的的敏捷」得到《纽约时报》肯定的曼陀铃演奏家艾维‧艾维塔是现今音乐圈最能撼动人心,而且具有开创精神的年轻音乐家。出生於以色列,在义大利接受音乐教育的艾维‧艾维塔毕生职志,就是以精彩的演奏技巧,还有增添新曲目来复生曼陀铃这个古老的乐器。

韦瓦第是义大利巴洛克时期最著名的作曲家之一。继巴哈作品以及探索各地音乐对比的「世界之旅–音乐无国界」专辑后,艾维‧艾维塔以这一张专辑重新塑造出巴洛克时期威尼斯充满活力的风貌,并且向这一位作曲大师致敬。

艾维‧艾维塔与威尼斯巴洛克管弦乐团合作,挑选出韦瓦第四首广爱喜爱的协奏曲:A小调小提琴协奏曲《和谐的灵感》第六号、鲁特琴协奏曲、曼陀铃协奏曲、著名的《四季》小提琴协奏曲中的〈夏〉,以及艾维‧艾维塔与大键琴家埃斯法哈尼、鲁特琴演奏家札凯、大提琴家谢佩斯合作的三重奏鸣曲。

最后专辑在令人惊喜的尾声中结束:在艾维‧艾维塔以及鲁特琴、大提琴、大键琴、吉他的伴奏下,男高音佛瑞兹演唱了十八纪威尼斯船夫的歌曲《贡多拉船上的金髮美女》。


商品条码 : 0028947940173
商品编号 : 4794017
演奏者 : 艾维艾维塔 Avi Avital - 查看所有专辑
指挥家 :
乐团 :
作曲家 : 韦瓦第 Vivaldi - 查看所有专辑
专辑名称 : 威尼斯情缘:韦瓦第作品演奏辑
Vivaldi
音乐类型 : 古典音乐 [CD 曼陀林]
发行公司/日期 : 环球 2015/3/27
制作公司 :
内含片数 : 1

【曲目】
韦瓦第:A小调为小提琴、弦乐与数字低音所写的协奏曲《和谐的灵感》第六号,RV 356
[1] 第一乐章:快板
[2] 第二乐章:缓板
[3] 第三乐章:急板
韦瓦第:D大调为鲁特琴、双小提琴与数字低音所写的协奏曲,RV 93
[4] 第一乐章:(适度的快板)
[5] 第二乐章:缓板
[6] 第三乐章:快板
韦瓦第:C大调为曼陀铃、弦乐与数字低音所写的协奏曲,RV 425
[7] 第一乐章:快板
[8] 第二乐章:缓板
[9] 第三乐章:快板
[10] 韦瓦第:缓板,选自C大调为短笛、弦乐与数字低音所写的协奏曲,RV 443
韦瓦第:C大调为小提琴、鲁特琴与数字低音所写的三重奏鸣曲,RV 82
[11] 第一乐章:不很快的快板
[12] 第二乐章:小缓板
[13] 第三乐章:快板

引用
Release Date: 02/24/2015
Label: Deutsche Grammophon Catalog #: 002262702 Spars Code: DDD
Composer: Antonio Vivaldi, Traditional
Performer: Avi Avital, Mahan Esfahani, Ophira Zakai, Patrick Sepec, ...
Orchestra/Ensemble: Venice Baroque Orchestra
Number of Discs: 1
Length: 0 Hours 51 Mins.

If Avi Avital’s intention is to do for the mandolin what Andrés Segovia did for the classical guitar, he’s already well on the way. Appropriate then that this, his third and possibly best release to date, should feature three Vivaldi concertos popular with guitarists. This homage to Venice’s favourite musical son in many ways picks up where Avital’s terrific debut recording of JS Bach concertos left off. This time, the mandolin’s on home turf, not only returning to its Italian roots but in one case rejoicing in a concerto actually written for it.

Avital and the superb Venice Baroque Orchestra make the C major Mandolin Concerto, RV425, their own, the pizzicato strings and organ continuo the rich clay into which Avital carves his crisp, fluid lines. But even better is the utterly thrilling account of ‘Summer’ from The Four Seasons. Here, as throughout, Avital’s astonishingly smooth legato playing is broken up by rapid détaché passages and propulsive strums that sweep through the music like electrical storms, perfectly complementing the orchestra’s crisp, light string-playing and spooky sul ponticello effects in the slow movement.

As a respite from the concertos’ high drama, there’s an exquisite account of the C major Trio Sonata, originally for violin and lute with continuo. Avital again takes the violin’s part, while harpsichord duties fall to the brilliant Mahan Esfahani, recently signed to DG. The gentle final track, where Avital and friends accompany tenor Juan Diego Flórez in the charming gondolier’s song ‘La biondina in gondoleta’, feels just right.

Performer: Juan Diego Flórez, Mahan Esfahani, Ophira Zakai, Patrick Sepec, Ivano Zanenghi, et al.
Orchestra: Venice Baroque Orchestra
Conductor: n/a
Composer: Antonio Vivaldi
Audio CD (February 24, 2015)
Number of Discs: 1
Label: Deutsche Grammophon
ASIN: B00RD7Q0OI

Grammy-nominated classical mandolinist Avi Avital is an artist who pushes at boundaries and defies expectations. With his current recording, however, he brings the mandolin home, to the music of Antonio Vivaldi, the beloved Venetian composer whose Mandolin Concerto forms the cornerstone the Old Testament, says Avital of the instrument s repertoire.
Yet a virtuoso interpretation of the four Vivaldi concertos here recorded that for mandolin and its sibling for lute, together with two familiar violin concertos in Avital s own transcriptions is not enough. For Avital, as both soloist and musical director, recording a Vivaldi album is not an act of passive veneration, but an open-ended invitation to explore the man s music and his world.
The music-making is bold, personal and immediate. Avital often uses a different plectrum or pick for each section of music. His sense of dynamic contrast pushes the limits of the recording engineers technical capacities. Tempos are not defined in strict intervals, but remain as dynamic as volume, subject to the ebb and flow of the melodic architecture. Intonation is precise, but tones are occasionally bent, as a jazz musician might, to add exotic spice to moments of emotional extreme. The accompanying lute, cello and harpsichord are given freedom to temperamentally punctuate the music s structure.
Fantasy is a word Avital often invokes. Summer from Vivaldi s famous Four Seasons, for example, stands detached from its companions. Gone is any trace of a quaint, naturalistic still life; rather, Avital envisages a kaleidoscopic nature fantasy. On the mandolin, the first movement s bird calls evoke an almost shocking realism; the second movement s squeaky sul ponticello violins suggest no mimetic insect-like effect, but cast a chilly, almost macabre gloom over La Serenissima, a city known equally for its morbidity as for its splendour; and, in the final movement, the mandolin s frenetic runs suggest less the fall of rain than the breathless scurry of a Venetian fleeing the downpour.
Each concerto is conceived in such richly evocative terms. Also, no two works share the same instrumentation: in the middle Largo of the A minor Concerto, unexpectedly, cello and bass are stripped from the texture, leaving just a seamless plucked legato suspended on a delicate treble cloud; the D major Concerto dispenses with violas entirely, leaving a gap between soprano and bass voices precisely the zone where Avital s mandolin spins its web.
Even that classic, Vivaldi s Mandolin Concerto, gets an inspired makeover. Typified by plucking strings and light harpsichord beneath a precious mandolin line, here the harpsichord is replaced by an organ. With the latter casting long harmonic shadows, suddenly the work sheds its lingering naivety. To the unsuspecting ear, these differences are barely perceptible, yet each aural twist keeps the listening experience vivid.
These concertos are counterpointed by a piece of chamber music, Vivaldi s Trio Sonata RV 82, and a traditional Venetian gondolier song, La biondina in gondoleta. The Trio Sonata is intimate Vivaldi, representing the composer in his chambers, rather than in the church or theatre, while the song is a reminder of the popular music being played just outside Vivaldi s window.
La biondina is not in standard Italian but in Venetian dialect, a patois with its own distinctive vocabulary and syntax. Avital reaches for a smaller mandolin, the kind popularly played in Venice in Vivaldi s time. Another new sound, a baroque guitar, is added. To an extent, the album s final track is the most authentic, yet, together with the sonata, it traces back to Avital s point of departure: in conception, each work adds color and contrast to the creative arc of this Venetian fantasy world. M. Oscar




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专辑曲目

01. 1. Allegro: Concerto in A minor RV 356
02. 2. Largo Concerto in A minor RV 356
03. 3. Presto: Concerto in A minor RV 356
04. 1. Allegro: Concerto in D major RV 93
05. 2. Largo: Concerto in D major RV 93
06. 3. Allegro: Concerto in D major RV 93
07. 1. Allegro: Mandolin Concerto in C major RV 425
08. 2. Largo: Mandolin Concerto in C major RV 425
09. 3. Allegro: Mandolin Concerto in C major RV 425
10. Largo from Concerto in C major RV 443 orig. for flautino
11. 1. Allegro non molto: Trio Sonata in C major RV 82
12. 2. Larghetto: Trio Sonata in C major RV 82
13. 3. Allegro: Trio Sonata in C major RV 82
14. 1. Allegro non molto: Concerto in G minor RV 315
15. 2. Adagio e piano Presto e forte: Concerto in G minor RV 315
16. 3. Presto: Concerto in G minor RV 315
17. La biondina in gondoleta

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