Alison Balsom, Crispian Steele-Perkins -《义大利巴洛克时期之双小号音乐作品》(The fam'd Italian masters Music for trumpets and strings from the Italian Baroque)[MP3]
兼具美貌与才华，来自英国的小号天后演奏家艾莉森．鲍尔珊（Alison Balsom）在国际上已享有高度的讚誉。曾两度获得英国Brits古典音乐大奖「年度女音乐家」奖项，及《留声机》Gramophone杂誌、古典音乐电台（Classic FM）等多项古典音乐权威奖肯定。本月她将与苏格兰合奏团（Scottish Ensemble）联袂应邀访台，风格迥然与高难度的曲目，将为观眾展现她惊人的舞台魅力。
◎ 曾於英国伦敦市政厅音乐及戏剧学院（Guildhall School of Music）、巴黎音乐院学习小号演奏
◎ 2010年以自行编曲灌录的《义大利协奏曲》Italian Concertos创下EMI唱片当年度古典类唱片销售冠军
商品条码 : 0034571173597
商品编号 : CDA67359
演奏者 : 伯金斯＆艾莉森鲍尔珊 Crispian Steele-Perkins ＆ Alison Balsom (Trumpet) - 查看所有专辑
专辑名称 : 义大利巴洛克时期之双小号音乐作品
The Fam`d Italian Masters : Music For 2 Trumpet From The Ita
音乐类型 : 古典音乐 [CD ]
发行公司/日期 : 上扬
内含片数 : 1
斯蒂尔 - 帕金斯住在多尔金，萨里,也是艾玛，凯特和盖伊的父亲。他也是 威廉，Ben Mitchell，伊莎贝尔和Zoe Jinadu 的祖父。1961年，他娶了安吉拉海伦厅（1991），并于1995年，他娶了伊丽莎白珍玛斯蒂尔 - 帕金斯。
Steele-Perkins lives in Dorking, Surrey and is the father of Emma, Kate and Guy. He is also grandfather to William and Ben Mitchell and Isabelle and Zoe Jinadu. In 1961, he married Angela Helen Hall (d. 1991), and in 1995 he married Jane Elizabeth Mary Steele-Perkins.
Steele-Perkins picked up his first trumpet at the age of ten and progressed so quickly that just 6 years later he was playing with the English National Youth Orchestra. On graduating from the Guildhall School of Music, Steele-Perkins began his professional career with the Sadler's Wells Theatre (ENO) 1966-73, before performing with the London Gabrielli Brass Ensemble 1974-84, Royal Philharmonic Orchestra 1976-80, English Baroque Soloists 1980-91, Amsterdam Baroque Orchestra, The King's Consort, 1985–2009, and Retrospect Ensemble, 2009–present. Steele-Perkins's purity of tone and artistic subtlety have received critical acclaim for more than four decades now. Throughout the 1980s and 1990s, he played a key role in the growth of historically-aware trumpet playing, using a collection of more than 100 pre-1900 mechanised and 'natural' trumpets to bring a brighter, clearer sound to baroque performances. In 2004, Steele-Perkins received the Monk Award for his significant and lifelong contribution to the field of early brass music.
In addition to his work with classical orchestras and period instruments, Steele-Perkins has developed a body of television and film work which is universally recognisable today - most famously he played the theme tune to the popular British television programme Antiques Roadshow, the James Bond film For Your Eyes Only and the The Lord of the Rings: The Two Towers.
Steele-Perkins has also accompanied some of the world's greatest singers, recording Handel's "Let the bright Seraphim" with Dame Kiri Te Kanawa and "Eternal Source of Light Divine" with James Bowman. His more recent performances alongside Emma Kirkby, Lynn Dawson, Carolyn Sampson, Bryn Terfel and Lesley Garrett have cemented his international reputation as one of classical music's great ambassadors.
Well known for his enthusiasm and wit, Steele-Perkins is also a popular presenter giving recitals, lectures and masterclasses at schools, colleges and music venues around the world. He also provides advice and guidance when called upon by today's up-and-coming trumpeting talent.
为什么选小号？这大概是大多数人对她的疑问。原来，这个开始，居然不是古典，而是爵士。鲍尔珊在她七岁的时候，无意间听到爵士小号大师葛莱斯比（Dizzy Gillespie）的录音便深深著迷。当时年纪还小，根本不知道这项乐器在一般人眼中是属於男生演奏的，却执意要学。到了快九岁时，她的父亲带她到巴比肯中心，听了瑞典演奏家哈登伯格（Håkan Hardenberger）演奏胡迈尔（J. N. Hummel）的作品之后，她就下定决心要成为一个小号演奏家。有趣的是，小小的心灵从此真的这个梦想努力不懈，长大之后，她不但找到机会跟随哈登伯格学习，为她树立起小号界天后地位的专辑主打作曲家之一，竟然也是胡迈尔。
文字 邓诗屏 小号演奏家
This disc combines the talents of internationally-renowned Crispian Steele-Perkins, and Alison Balsom, a recent graduate currently taking the musical world by storm. Both are in radiant form in a collection of works from that era of Italian baroque music celebrated and loved for its vibrancy and spirit.
Audio CD (May 13, 2003)
SPARS Code: DDD
Number of Discs: 1
Label: Hyperion UK
Average Customer Review: 5.0 out of 5 stars
Until the middle of the seventeenth century, the trumpet was essentially a ceremonial instrument, played by soldiers and courtly attendants rather than musicians; it was normally used in trumpet-and-drum bands, in which fanfares and popular tunes were clothed in improvised drone accompaniments. However, German composers such as Michael Praetorius and Heinrich Schütz began to experiment with using trumpets in composed art music around 1620, and soon after 1650 composers began to write concerted sonatas for one or two trumpets with strings and continuo—the repertory that is explored in this disc.
It is normally thought that the first trumpet sonatas were written in Bologna. The earliest printed trumpet sonatas were certainly published in 1665 by Maurizio Cazzati, maestro di capella at San Petronio in Bologna between 1657 and 1671, and the archives at San Petronio contain a large repertory of sonatas, sinfonias and concertos with trumpets, some of which are included on this CD. However, there are trumpet sonatas surviving in manuscripts in northern European libraries that may be just as early or even earlier. A case in point is the sonata by the Roman composer and singer Alessandro Melani. It is found in manuscript at Uppsala in Sweden, probably copied in the 1680s or ’90s though a shorter version for a single trumpet in an Oxford manuscript may go back to the middle of the century. The piece is in an early style and is in C major rather than D major, the standard key for later Italian trumpet music. The piece is also unusual in that the violin parts are in scordatura (using violins tuned b-e'-b'-e'' instead of g-d'-a'-e''). It is not clear whether that was part of Melani’s original conception, though it certainly creates an unusual and attractive sonority.
Alessandro Stradella was another important early composer of trumpet music. Like Melani, he worked in Rome for much of his career, though by 1681, when he wrote the wedding cantata Il barcheggio, he was living in Genoa; he was murdered in a Genoese street the following February and Il barcheggio is said to have been his last work. Its self-contained sinfonia sounds remarkably modern, partly because it uses a bright scoring with three equal treble parts, and partly because it has a clear four-movement structure, with logical harmonic patterns.
Another early trumpet work is the sonata by Andrea Grossi, published in his Op 3 of 1682. It has a some archaic features—for instance, the trumpet tends to alternate rather than combine with the upper strings—though the central adagio, featuring the trumpet in an expressive rather than virtuosic role, is unusual for the time. Little is known about Grossi, though he is known to have been a violinist in the service of the Duke of Mantua around 1680.
The three trumpet works in this programme by Bologna composers offer a sample of forms and styles around 1700. The sonata by Giuseppe Maria Jacchini has the same three-treble scoring as the Stradella sinfonia, though it is more old-fashioned in its structure and musical language: it is relatively short-winded and is a patchwork of six short, contrasted sections. Jacchini was a cellist in the musical establishment at San Petronio from 1680 until his death in 1727, and may have been partly responsible for developing the cello as a solo instrument in concerted sonatas; in the present sonata the central trumpet solo has a soloistic bass part that is clearly intended for his instrument.
In the sonatas by Lazzari and Torelli the cello is given a proper solo accompanied by a separate continuo part; in the Lazzari it has an expressive duet with the first violin, while in the Torelli it has a duet with the trumpet. Both works illustrate the trend around 1700 to more virtuosic and idiomatic writing, and for longer, more logically organized separate movements instead of the old ‘patchwork’ structures. Lazzari was a Franciscan monk who worked in his native Bologna throughout his life, with the exception of two periods spent in Venice. Torelli was also a native of Bologna and worked there until 1696, though he spent most of his later career in Germany.
We do not know where and when Vivaldi wrote his well-known concerto, his only work for trumpets and strings. It is similar in idiom to some Bologna works, though it is in C major rather than D major—a distinctive feature found in other works by Vivaldi with trumpet.
As a contrast to the major-key and generally lively trumpet works, we have included some contemporary examples of four-part string sonatas. The sonata à quattro was less popular at the time than the ubiquitous trio sonata, and is rather neglected today, though it contains a wealth of fine music with a preponderance of introspective, minor-key works—as this CD demonstrates. It is also of interest in that the genre is the true ancestor of the Classical string quartet. The sonatas by Cazzati and Vitali are typical examples of Bolognese four-part sonatas: they are relatively brief, are full of dense counterpoint and have chromatic sections. Vitali was born in Bologna and studied with Cazzati, though he spent most of his career at the Modenese court.
The sonatas by Legrenzi and Scarlatti are also densely contrapuntal, though they are quite different in style. Legrenzi was working in Venice in 1673, when he published his Op 10, and dedicated the collection to the Austrian emperor Leopold I, which is presumably why it includes two sonatas for four viols and continuo. Viols were largely obsolete in Italy at the time, but were still cultivated a good deal in Austria. This is probably why the sonata recorded here was printed in a double-clef format, allowing it to be played in C minor on viols and in E minor by a string quartet. In the work Legrenzi achieves a remarkable synthesis between the contrapuntal idiom of the Renaissance and the chromatic harmony of his own time. We do not know anything about the origins of Alessandro Scarlatti’s work, except that it is found in manuscripts in Paris and Münster as a sonata for string quartet ‘senza cembalo’, but as a concerto with continuo and additional ripieno string parts as the first of a set of Six Concertos published in London around 1740. It is likely, however, that the concerto version is not Scarlatti’s work, and was cobbled together in eighteenth-century England; the additional parts certainly do not add anything to the original.
Two features of this recording are worthy of comment. First, all the works are played one to a part. There is no doubt that the sonata à quattro was essentially thought of as chamber music rather than orchestral music around 1700, even though the genre was often used in church. Furthermore, Richard Maunder has recently argued that the concerto was normally a one-to-a-part genre during the Baroque period; the vast majority of all Baroque concertos survive only in single sets of parts, even in places such as San Petronio in Bologna, where other genres were performed with large forces. Second, it has become fashionable in recent years to use large continuo groups of plucked instruments in all sort of Baroque music. However, the printed and manuscript sources of the repertory recorded here normally only have a single continuo part, most commonly labelled ‘organo’. For this reason we have used a fine Italian-style organ by Goetze and Gwynn for this recording. It is typical of the single-manual instruments used in Italian Baroque churches, and is much more powerful than the small portable chest instruments usually heard in modern performances and recordings.
The lesser-known composers presented here (Melani, Cazzati, Jacchini, Lazzari, Grossi etc) sit happily beside the ‘greats’ of the era (Vivaldi, Scarlatti, Torelli). Before mid-seventeenth century the trumpet was essentially a ceremonial instrument until German composers such as Praetorius and Schütz began to incorporate it into concert works. This idea was soon adopted elsewhere, and Italian sonatas and concertos form much of the baroque repertoire for trumpet.
The accomplished Parley of Instruments play ‘one to a part’, reflecting the combination of forces most likely to have been used at the time these works were first performed.
01. Sonata a 6, for 2 trumpets, strings & continuo in D major: Presto e spicco
02. Sonata a 6, for 2 trumpets, strings & continuo in D major: Grave
03. Sonata a 6, for 2 trumpets, strings & continuo in D major: Canzona
04. Sonata a 6, for 2 trumpets, strings & continuo in D major: Grave
05. Sonata a 6, for 2 trumpets, strings & continuo in D major: Presto
06. Sonata for trumpet, strings & continuo, Op 3/10: Vivace
07. Sonata for trumpet, strings & continuo, Op 3/10: Adagio
08. Sonata for trumpet, strings & continuo, Op 3/10: Grave
09. Sonata for trumpet, strings & continuo, Op 3/10: Presto
10. Sonata for trumpet & strings, D12/6: Grave - Allegro
11. Sonata for trumpet & strings, D12/6: Grave
12. Sonata for trumpet & strings, D12/6: Allegro
13. Sonata for trumpet & strings, D12/6: Grave - Allegro
14. Sonata for strings & continuo in A minor ('La Sassatelli'), Op. 5/10
15. Sonata for 2 violins, viola, cello & continuo in E minor, Op. 10/17
16. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: [Allegro]
17. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Andante
18. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Allegro ma non troppo
19. Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo: Sinfonia in D major: Allegro
20. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Grave - Allegro
21. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Adagio
22. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Allegro
23. Sonata a 5, for trumpet, strings & continuo in D major, G. 7: Grave - Allegro
24. Concerto grosso No. 1 in F minor: Grave
25. Concerto grosso No. 1 in F minor: Allegro
26. Concerto grosso No. 1 in F minor: Larghetto
27. Concerto grosso No. 1 in F minor: Allemanda
28. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Vivace
29. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Largo
30. Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537: Allegro