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Angela Hewitt -《巴哈:键盘协奏曲第二集~第2~6号》(Bach - Keyboard Concertos Vol.2)[SACD-r]

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    古典类型全集作品
    发行时间2005年06月13日
  • 时间: 2016/01/27 12:31:00 发布 | 2016/01/27 14:17:54 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Bach - Keyboard Concertos Vol.2
专辑中文名巴哈:键盘协奏曲第二集~第2~6号
艺术家Angela Hewitt
古典类型全集作品
版本[SACD-r]
发行时间2005年06月13日
地区美国
语言英语
简介

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专辑介绍:

与顾尔德、杜蕾克不同的巴哈风格

巴哈音乐詮释空间大,在管絃乐上如此,在键盘上情况亦然。安吉拉•赫维特可以说是继杜蕾克(Rosalyn Tureck)之后,当代詮释巴哈作品最杰出的女钢琴家;加上与钻研巴哈闻名的钢琴家顾尔德(Glenn Gould)同样都是加拿大人,因此安吉拉•赫维特很难不被乐迷拿来跟杜蕾克、顾尔德这两位前辈相比,只不过安吉拉•赫维特走的既不是顾尔德「强烈个人化的过度詮释」路线,也不同於杜蕾克「坚守学院本色的拘谨风格」,更不是考究的古乐学究派。

安吉拉在开创属於自己的风格之餘,也不避讳谈论这两位前辈。谈到顾尔德,安吉拉•赫维特表示两人的演奏与喜好非常不同,顾尔德不爱红色,她却非常喜爱,顾尔德讨厌白昼、讨厌义大利歌剧,但是她却相反很喜欢它们。


推荐录音CD,夏布里耶「钢琴作品」,安吉拉•赫维特/钢琴。Hyperion CDA 67515,上扬
安吉拉•赫维特并未走上顾尔德「诡异的」詮释巴哈的道路,她只是回忆表示,「小时候我看顾尔德演奏印象深刻,只见他双手在鼻子前飞快移动,完全听不懂他嘴里哼什?。但他的演奏就是棒,我最早就有他的两声部、三声部创意曲的LP,我和哥哥常听他的唱片,他的弹奏有时速度快到无法想像,有时又慢到有点滑稽。其中最令我印象深刻的就是他弹奏的清晰度,我特别喜欢他早期演的『郭德堡变奏曲』,里头呈现的大无畏精神,我很在乎。」

再谈杜蕾克,安吉拉•赫维特则认为这位女性前辈的结构非常完美,知性十足,但却不够活泼,她反而比较钟爱德穆斯(Jorg Demus)演奏的巴哈,相对人性釵h。

音乐中的舞蹈性与歌唱性

谈起巴哈的键盘音乐,安吉拉•赫维特的意见多元且深入,她不赞成一般人所认为的「巴哈音乐缺乏活力、充满匠气」的说法,她觉得巴哈的音乐到处皆带有神奇的舞蹈节奏,更有著多层次的精神内涵,在她眾多的巴哈键盘录音中,最值得推荐的CD有三套,分别是「郭德堡变奏曲」、「十二平均律」、以及「键盘协奏曲」。

安吉拉•赫维特跟「郭德堡变奏曲」的渊源很深,长久以来一直演奏这首作品,风格也一直在变化,她认为,「这就是巴哈音乐的魅力,没有标準的詮释答案,演奏时作品会散发一种特殊力量。」相较於顾尔德与杜蕾克两位前辈,安吉拉•赫维特的詮释明显比较放鬆、舒适,她在萨拉邦德舞曲、吉格舞曲上头的触键非常优雅,各段变奏也充满游戏性与歌唱性,对位线条清晰却不生硬。安吉拉•赫维特用「最感人的音乐」来形容「郭德堡变奏曲」,显见她与这首曲目的「浓情密意」。

至於「十二平均律」考验钢琴家的往往不是技术,而是思想。安吉拉•赫维特自己表示,如果到一个荒岛上,身边没有钢琴,愿意整天坐在那堙A默写「十二平均律」的总谱。她也经常在飞机旅程途中,凭著手指的记忆不用琴的练习。安吉拉•赫维特对这套曲目的用本P认知,完全符合傅聪所说的「一位钢琴大师必须能用头脑思考练琴」的要求。


推荐录音CD,梅湘「前奏曲」等,安吉拉•赫维特/钢琴。Hyperion CDA 67054,上扬
至於她的「键盘协奏曲」同样也入围本届「留声机杂誌」最佳协奏曲类,安吉拉•赫维特充分展现她师法自管风琴、大键琴的「演奏撇步」,造就自己独特的巴哈键盘之声。她跟父亲学了很多管风琴起奏、断句、指法、手指交替运用等手法,运用在钢琴上还刻意减少踏板的使用,保有音质的通透性。加上大键琴上对於十个指头能独立均匀、精致的弹奏的要求更甚於钢琴,因此她就用弹奏大键琴的标準来要求自己的手指动能。

这么多年演奏下来,她并不排斥被大家称为「巴哈专家」,因为她觉得这样总比被称为其他的专家来得好。她觉得巴哈非常适合自己,「巴哈是基础,他的音乐是其他音乐的源头,我演奏巴哈之后感觉到技巧和理解都提高了。」

安吉拉•赫维特的音乐也充满了迷人的舞蹈性,无论是巴哈的作品,或是其他曲子,只要一听过就可以明显感受到这项特质。原因是她跳过大约20年的舞蹈,从3 岁开始学习一直到13、14岁,每个晚上都去上芭蕾舞课,直到15、16岁才停止学习,但内心感觉到非常遗憾,因此随时都想著舞蹈、有舞蹈的影子,也因此她特别喜爱内蕴舞蹈节奏的巴洛克音乐。

而她的音乐歌唱性,则是因为学习小提琴的断句和呼吸锻鍊而来,在她弹奏巴洛克音乐的装饰音,或是自由速度表现上时,歌唱的个性就更加鲜明。安吉拉说,「我的风格,尤其是慢乐章,更多运用滑奏,更有歌唱性。」我从来没有想过我自己是在演奏钢琴,我想到的更多是人声、小提琴、乐队,钢琴家的目的应该是模仿人声,所以我一天练几个小时,就等於是歌唱几个小时。

钟爱法国音乐

安吉拉•赫维特对於舞蹈的难忘情愫也移转到法国音乐上,她在1978-1985年间就住在巴黎,那段时间学习了很多法国作曲家,像拉威尔、德步西、卢塞尔、佛瑞、杜卡、奥乃格、夏布里耶、甚至是当代作曲家梅湘的作品,其中她的梅湘詮释还获得「留声机杂誌」的高度评价,认为在这个曲目上无人能及。


法国当代作曲家梅湘於安吉拉•赫维特演出自己曲目后,向她致意。Photo By Hyperion
她对法国键盘音乐的演奏范围极广,可说从巴洛克囊夸括到现代,其中钻研最深的是与巴哈同时期的法国作曲家库普兰。库普兰的键盘作品过去一向都是大键琴演奏家才感兴趣,但安吉拉•赫维特把「在钢琴上演奏巴哈键盘作品」的想法,移植到库普兰身上,她首先花了一番苦心在图书馆里,钻研库普兰「如何演奏键盘乐器」的论文,了解到库普兰的键盘作品,演奏技巧比巴哈的要求还更高,而且装饰音非常吃重,是呈现作品时代风格的关键DNA。在浏览过库普兰234部作品之后,安吉拉•赫维特选出适合钢琴演奏的才推出专辑,跟演奏录音史上知名的兰多芙斯卡(Wanda Landowka)的大键琴录音版本,风味相当不同。

安吉拉•赫维特对钢琴的选用也严格地挑剔,因为演奏巴哈时她必须使用琴音表现具备著,高清晰度、反应快速、声音共鸣可信度高。最重要的是色彩的变化,尤其是在弱音的时候。据说当年巴哈最爱古钢琴,因为古钢琴有明暗对比和色彩的变化,而安吉拉•赫维特则一直试图在钢琴上制造这样的音响效果。她所录制所有 Hyperion公司的录音,都採用声音良好的史坦威钢琴灌录,至於她平时在家则是使用Fazioli钢琴。

如果,您现在才想要开始接触安吉拉•赫维特的琴艺,我个人当然毫不犹豫推荐您就从她演奏的巴哈开始吧!她弹奏的巴哈作品会给您一种强烈的错觉,感觉钢琴似乎消失了,跟过去的键盘演奏家,刻意突显巴哈键盘语法的对位性、数位化线条、戏剧对抗性的做法相当不同。

在安吉拉•赫维特手上,巴哈的音乐呈现全然的类比化、线条化,像是人在唱歌、又像是行云般流畅、也像是朝雾般轻盈、或是像溪水般通透、更像是小鸟在跳跃。反正,在她的弹奏之下,巴哈脱下严肃的庙堂形象,走进了大自然里头,化身成了没有压力的虫鸣鸟叫。


巴哈:键盘协奏曲Vol 2 / 安吉拉.赫维特
Bach - The Keyboard Concertos Vol 2 / Angela Hewitt
唱片公司:Hyperion
演出者:赫维特
音乐类型:古典音乐
唱片编号:CDA67607/8
发行日期:2005年06月13日
进口专辑 / CD / 1 片装5-06-

专辑编号: CDA67308
专辑类型: 单CD
发行年份: 2005
国际条码: 0034571173085
音乐家:13
Hewitt, Angela (piano) 安洁拉.休薇特 (钢琴) Tognetti, Richard (conductor) 理查.托奈提 (指挥) Australian Chamber Orchestra 澳洲室内管弦乐团
音乐厂牌: Hyperion

引用
The first movement of concerto no. 4 emerges here as the perfect counterpart to an eighteenth century painting of a family music party, with each member smilingly at harmony with the next; such is the sense of pure joy which the performance exudes, the busy counterpoint far from a cerebral exercise, but rather a conversational interplay of ideas.

I chose the first movement of the first piece on the disc (they are played in the order 4, 3, 2, 5, 6) simply because this was my first impression; but in truth I think that any of the swifter movements would have told the same story. It is no doubt Angela Hewitt’s ability to make Bach a living person rather than a monument which has made her Hyperion series such a success.

I have a query, though, regarding the slow movements. The Australian Chamber Orchestra is a very fine group and it has clearly taken to heart the lessons of the "authenticists". This means that in the slow movements we get an un-vibratoed sound with an expressive bulge on long notes, but with the notes kept separate. Long legato phrases are "out". With some slow movements this is more of an issue than with others. I didn’t bring up this question when reviewing volume 1 because none of the slow movements there seemed of a nature to be affected by it. Nor is that of no. 6 here – if you don’t know these concertos, you will be surprised to find that this one is a version of the 4th Brandenburg Concerto – and the sepulchral sounds which open and close that of no. 3 are truly imaginative. But in that of no. 4, and in the "Siciliano" of no. 2, it is somewhat strange to find the piano spinning long legato lines while the strings chop the same phrases into small units. Mind you, JSB himself might have been intrigued by the paradox that the strings, which can play long "vocal" legato lines, don’t do so while the piano which theoretically can only hint at them, does so. But I think this paradox is more illuminating when the harpsichord is used as the solo instrument, since only by the purest trickery can it even hint at "vocal" legato. When the piano is the solo instrument, I suggest it may be better to integrate rather than contrast the expressive styles.

Still, this is more of a talking point than a criticism, and you may not agree anyway. What is in no doubt is that this is a Bach record to cherish. Recommended in particular to those who usually find this composer rather forbidding in all his contrapuntal ingenuity.

This is also a record that reinforces the image of Hyperion as a company of music-lovers which makes records for music-lovers. What a tragedy it would be if as a result of their ill-advised court case all this activity on behalf of music were to disappear, or to be drastically curtailed. So just a plea to readers: if a new Hyperion issue sounds attractive to you, do put it on the very top of your shopping-list. Hyperion needs its customers’ support at the moment, and music-lovers need Hyperion to continue.

Christopher Howell



Read more: http://www.musicweb-international.com/clas...yPHvwOmz

Performer: Bach, Angela Hewitt, Richard Tognetti, Australian Chamber Orchestra
Audio CD (June 13, 2005)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: Hyperion UK
ASIN: B0009K9P7U
Average Customer Review: 4.6 out of 5 stars


Johann Sebastian Bach (1685-1750)

The Keyboard Concertos, Vol. 2
Angela Hewitt (piano), Australian Chamber Orchestra, Richard Tognetti (conductor)

This disc and its companion SACDA67307 contain all Bach’s extant concertos that feature a solo keyboard. Most were written in the 1730s and are thought to be arrangements of earlier concertos, many of which are now lost (though two will be recognized as Bach’s E major and A minor violin concertos and the sixth is an arrangement of the fourth Brandenburg). The fifth Brandenburg Concerto, with harpsichord, flute and violin soloists, dates from 1721 and is generally regarded as the first concerto for a solo keyboard instrument ever written. Bach made the keyboard part particularly brilliant and included a huge cadenza; he certainly knew how to establish a genre with a bang!

Hewitt’s Bach is by now self-recommending but only after playing Bach across the world with numerous ensembles did Angela decide that the Australian Chamber Orchestra were the perfect collaborators. After a month of concerts across Australia these recordings were set down in Sydney in February of this year and the frisson of artists operating at the peak of their form is clear for all to hear. One is immediately struck by the quality of chamber-music playing as phrases are passed from soloist to orchestra and, in the case of Brandenburg Concerto No 5 and the Triple Concerto, between all three soloists. Rhythms are buoyant, tempos lively, the spirit of dance is never far away in the fast movements and a perfectly vocal quality pervades the sung lines of the slow movements.


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专辑曲目

Keyboard Concerto No 4 in A major BWV1055 EnglishFrançaisDeutsch
01. Movement 1: Allegro [4'06]
02. Movement 2: Larghetto [4'55]
03. Movement 3: Allegro ma non tanto [4'39]

Keyboard Concerto No 3 in D major BWV1054 EnglishFrançaisDeutsch
04. Movement 1: [untitled] [7'29]
05. Movement 2: Adagio e piano sempre [6'05]
06. Movement 3: Allegro [2'37]

Keyboard Concerto No 2 in E major BWV1053 EnglishFrançaisDeutsch
07. Movement 1: [untitled] [8'02]
08. Movement 2: Siciliano [4'43]
09. Movement 3: Allegro [6'28]

Keyboard Concerto No 5 in F minor BWV1056 EnglishFrançaisDeutsch
10. Movement 1: Allegro [3'28]
11. Movement 2: Adagio [2'57]
12. Movement 3: Presto [3'19]

Keyboard Concerto No 6 in F major BWV1057 EnglishFrançaisDeutsch
13. Movement 1: [untitled] [7'21]
with Alison Mitchell (flute), Emma Sholl (flute)
14. Movement 2: Andante [4'09]
with Alison Mitchell (flute), Emma Sholl (flute)
15. Movement 3: Allegro assai [5'02]
with Alison Mitchell (flute), Emma Sholl (flute)

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