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Khatia Buniatishvili -《萧邦》(Chopin)[FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2012年09月18日
  • 时间: 2016/06/01 12:41:25 发布 | 2016/06/01 19:11:31 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Chopin
专辑中文名萧邦
古典类型全集作品
资源格式FLAC
发行时间2012年09月18日
地区美国
语言英语
简介

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专辑介绍:

SONY 卡蒂雅(Khatia Buniatishvili)/萧邦:第二号钢琴协奏曲、钢琴奏鸣曲、圆舞曲 等[Khatia Buniatishvili: Chopin]【1CD】

SONY 88691-97129-2(1CD)886919712926
萧邦:第二号钢琴协奏曲、钢琴奏鸣曲、圆舞曲 等【1CD】
Khatia Buniatishvili: Chopin
卡蒂雅, 钢琴 / 帕佛.贾维指挥巴黎管弦乐团
Khatia Buniatishvili, Piano / Orchestre de Paris, Paavo Järvi

简介:

卡蒂雅在首张专辑「李斯特」的耀眼成绩之后,推出这张最新录音作品,收录五首萧邦作品,包括:第二号钢琴协奏曲,也是卡蒂雅展现与乐团演奏能力的作品;其他还有号称继贝多芬之后最完美的作品之一:第二号奏鸣曲,Op.35、非常能展示技巧与音乐性的第四号叙事曲、充满斯洛维克稳重温暖风格的第二号圆舞曲,Op.64/2、及充满惊奇的A小调马祖卡舞曲,Op.17/4。

出生於乔治亚的卡蒂雅,被BBC广播电台选为2009-2011年度「新生代艺术家」,之后又被维也纳爱乐协会评选为2011/2012乐季的「闪耀之星」。她温暖而偶尔忧伤的音乐詮释,常被形容有一股优雅的孤寂感,甚至淡淡的忧鬱。卡蒂雅自己说,这样的音乐特质,很大原因来自於她的国家乔治亚的民谣音乐。而她演奏出来的萧邦,不但展现她宽广的弹奏技巧,更传达发自内心的深刻情感。

卡蒂雅在2012年已经展开一个繁忙的乐季。她不但与本张专辑里,巴黎管弦乐团的指挥帕佛.贾维继续合作,八月与伊莉莎白皇后大赛小提琴首奖得主陈锐一起登台,还会与法兰克福广播交响乐团、维也纳交响乐团及旧金山交响乐团等合作演出。

曲目:

Frédéric Chopin (1810 - 1849)

[1] Waltz No.7 in C sharp minor, Op.64 No.2

Piano Sonata No.2 in B flat minor, Op.35
[2] 1. Grave - Doppio movimento
[3] 2. Scherzo - Più lento - Tempo I
[4] 3. Marche funèbre (Lento)
[5] 4. Finale (Presto)

[6] Ballade No.4 in F minor, Op.52

Piano Concerto No.2 in F minor, Op.21
[7] 1. Maestoso
[8] 2. Larghetto
[9] 3. Allegro vivace

[10] Mazurka No.13 in A minor Op.17 No.4


艺人 Khatia Buniatishvili
发行月份 2012-Sep
类型 古典音乐

Khatia Buniatishvili 卡蒂亚.布尼亚季什维利 1987年出生格鲁吉亚。过人的天赋6岁与乐团担任独奏首演。 随后应邀在瑞士,荷兰,法国,德国,比利时,意大利,奥地利,俄罗斯,以色列和美国等国表演。

2003年赢得基辅霍洛维茨钢琴比赛特别奖和伊丽莎白Leonskaya奖学金一等奖。2008年第12届鲁宾斯坦大赛获得了三等奖。

引用
Audio CD (September 18, 2012)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: Sony Classical
Run Time: 77 minutes
ASIN: B0085MK2BM
Average Customer Review: 4.7 out of 5 stars

AllMusic Review by James Manheim
Georgian pianist Khatia Buniatishvili is a phenomenon, and kudos to Sony Classical for snagging her! This is Chopin of the old school, with massive interposition of the performer between music and listener. And it's glorious. The Piano Sonata No. 2 in B flat minor, Op. 35, is an absolutely original reading, with that black belt of classical pianism, a fresh rendition of the famous funeral march, with real involvement in the emotional content of the movement. This is a Chopin funeral march played after someone actually died, and the moment of chilly nihilism that serves as the finale is really a bit scary here. The big Ballade No. 4 in F minor, Op. 52, is hardly less stirring. Buniatishvili races forward at times, delays as if in torture at other times, and has the skills and the raw power to pull it all off. Are there problems? Sure. It's true that a 19th-century virtuoso recital would have freely mixed orchestral and solo music, but the live performance of the Piano Concerto No. 2 in F minor, Op. 21, doesn't quite fit here, partly because the acoustic of the Salle Pleyel in Paris is nothing like that of the Jesus-Christus-Kirche in Berlin, where the other pieces were recorded. And a few of Buniatishvili's dynamic contrasts go beyond anything Chopin could have accomplished with his own piano or even intended. But these are the flaws that serve only to point up the considerable accomplishments elsewhere. This is the kind of Chopin playing that people used to line up to hear.

Khatia Buniatishvili - Chopin* / Orchestre De Paris, Järvi* ‎– Chopin
Label: Sony Classical ‎– 88691971292
Format: CD, Enhanced, Album
Country: Europe
Released: 2012
Genre: Classical
Style: Romantic

5.0 out of 5 starsAn exquisite Chopin pianist comes on the scene
By Santa Fe Listener HALL OF FAME on October 19, 2012
Format: Audio CD
Now that Sony places seemingly no attention on the U.S. market, it would be hard for music lovers to know much about pianist Khatia Buniatishvili. a child prodigy who was touring Europe by the age of ten, and who rejected the violin despite having perfect pitch, she is quoted in her Wikipedia article as calling the piano "a sumbol of musical solitude" (one suspects that something was lost in translation). She is now 25 and has made her way into the festivals run by Martha Argerich and Gidon Kremer - all of which raises high expectations for this new Chopin recital.

They begin to be filled form the first piece, modest as it is. Buniatishvili plays the Waltz in C-sharp minor with lovely musical instincts and crystal-clear touch. On a sliding scale, her lightness and deftness are closer to dinu Lipatti than, say Evgeny Kissin or Argerich herself. then it's on to the major solo work on the program, the "Funeral March" Sonata. It is approached almost as tenderly as the waltz, with lyrical flow dominating even in louder, more forceful passages - they are done with vigorous animation but not a hint of banging. The Trio of the Scherzo brings a famous melody, and I've never heard it played more naturally and with such poise. I found myself becoming a fan of Buniatishvili's before ten minutes was out. The transitions between episodes are silken and seamless.

The Funeral March itself remains a challenge; its over familiarity dares a young pianist to say something new or personal. Buniatishvili is a bit cautious, preferring to move ahead with steady declamations of the theme. But where she scores is in her ability to balance the theme with the lugubrious cadences in the left hand. Everything merges and sounds of a piece. Again there is no banging, and when the lyrical second theme enters, she transitions to it with utter simplicity and ease. the overall effect is of great dignity and tender melancholy, a respite from other pianists who want to bury the dead as pompously as possible. The sonata's will-o-the-wisp finale, a ferociously difficult Presto that must never rise much above a whisper, is rendered with precision and clarity; at the same time, Buniatishvili refuses to whisper and adds a sense of suppressed passion.

The last solo work is a Chopin connoisseur's favorite, the Ballade in F minor, treasured because of its wide range of expression and its capacity for bringing out as much emotional subtlety as a pianist can bring to it. Some pianists like Kissin overpower the piece - in a good way - through overt passion and a loud voice. Buniatishvili begins more softly and poetically than anyone I've heard in a great while, but soon her emotional expression, and wonderful technique, flashes out. This is amazingly assured, intuitive Chopin playing. Her ability to transit effortlessly from one episode to the next, which I had already admired, becomes breathtaking here. On Youtube you can hear a very moving and impressive Fourth Ballade from the gold medal winner of the last International Chopin competition in 2010, Yulianna Avdeeva from Russia. Taking nothing from her, Buniatishvili manages to be totally engrossing from first note to last, not just in the build-up to the end, where most pianists let the stops out.

the second half of the album is with orchestra - Paavo Jarvi leads the Orchestre de Paris on Chopin's Piano Cto. no. 2. Despite the oft-repeated criticisms of Chopin's orchestral writing, Jarvi conducts with a will; you don't feel that the show is marking time waiting for the star to enter. Sony's sound, which is very good in the solo numbers, is good here,too - clear, natural, nicely balanced. Buniatishvili remains true to her musical personality from the first entry, understating it while still holding our attention. Like Jarvi, she's intent on finding as much music as possible behind the almost constant fingerwork. This results in a lovely rise and fall as tenderness blends into brilliant passages. Listeners who want to hear the entire work attacked with maximum splash, as Argerich does, may feel a bit let down. We are more in the world of Ivan Moravec's elegant nuances.

I'll confess to not being a great fan, and certainly not a collector, of Chopin's two concertos. I've tried to relate what I hear, even if I can't offer extensive, or even very secure, comparisons with other versions. It was Buniatishvili's extraordinary poise and musicianship that struck me, as much here as in the solo works. To settle us after the scintillating finale, thee is a single slow, melancholy Mazurka in A minor Op. 17 no. 4, exquisitely done. I only wish Sony paid enough attention to the North American market that such an extraordinary keyboard artist could be widely appreciated.



Companies, etc.
Phonographic Copyright (p) – Sony Music Entertainment
Copyright © – Sony Music Entertainment
Credits
Composed By – Frédéric Chopin
Conductor – Paavo Järvi (tracks: 7 to 9)
Engineer [Balance] – Markus Heiland (tracks: 7 to 9)
Executive Producer – Anselm Cybinski
Liner Notes – Jürgen Otten, Khatia Buniatishvili
Orchestra – Orchestre De Paris (tracks: 7 to 9)
Piano – Khatia Buniatishvili
Producer [Recording] – Andreas Neubronner
Technician [Piano] – Thomas Hübsch
Notes
Recording: Jesus-Christus-Kirche, Dahlem, Berlin, March 12-15 2012 - Salle Pleyel, Paris, September 13 & 15, 2011 (7-9, live recording)


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专辑曲目

01. Waltz In C-Sharp Minor Op. 64/2 3:19

Sonata No.2 In B-Flat Minor Op. 35
02. I Grave - Doppio Movimento 6:03
03. II Scherzo 6:47
04. III Marche Funèbre. Lento 8:28
05. IV Finale. Presto 1:15

06.Ballade No. 4 In F Minor Op. 52 10:26

Piano Concerto No. 2 In F Minor Op. 21
07. I Maestoso 13:09
08. II Larghetto 8:54
09. III Allegro Vivace 7:33

10. Mazurka In A Minor Op. 17/4 4:54

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