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Jean-Pierre Rampal -《泰雷曼: 长笛协奏曲》(Telemann: Flute Concertos)[FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型协奏曲
    发行时间1987年
  • 时间: 2016/10/13 23:02:13 发布 | 2016/10/14 15:15:09 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Telemann: Flute Concertos
专辑中文名泰雷曼: 长笛协奏曲
艺术家Jean-Pierre Rampal
古典类型协奏曲
资源格式FLAC
发行时间1987年
地区美国
语言英语
简介

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专辑介绍:

尚-皮尔·路易·雷波尔(Jean-Pierre Louis Rampal,1922年1月7日-2000年5月20日),是20世纪著名的法国长笛演奏家。他被华盛顿邮报评为「重新把长笛由18世纪起变为现今受欢迎独奏乐器的演奏者」


Georg Philipp Telemann; 泰雷曼是德国巴洛克时代后期声势和地位最显赫的作曲家,在他坐镇的莱比锡等地,其他作曲家莫不退避三舍,其地位之高,连巴哈和韩德尔也不得不拱手让贤,而巴哈更让自己的儿子拜泰雷曼为教父,期许将来孩子长大能在泰雷曼的庇荫下获得提拔。如果说巴哈一生所留下一千多首作品足以傲视浪漫派和古典乐派的作曲家,那泰雷曼的作品数量更是当巴洛克时代之首,其数量之大,到今天也还未能清点完毕,这多少也显示了他在世时受到重视的程度,因为声名、地位崇高,才有那么多人委託他创作、也才有更多人以保存他的作品为荣。

引用
Release Date 1987
Duration 49:58
Genre Classical
Styles Concerto Orchestral

Label:CBS Masterworks ‎– M 42362
Format:Vinyl, LP, Promo
Country:US
Released:1987
Genre:Classical
Style:Classical

Georg Philipp Telemann was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg,Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.

Credits
Composed By – Georg Philipp Telemann
Conductor – János Rolla
Engineer – Ferenc Pécsi, Georges Kisselhoff
Mastered By – Vlado Meller
Producer – Georges Kadar

We can appreciate today that the Baroque era contained many geniuses, each of whose worth did not preclude the value of the others. During his lifetime, however, Telemann shone as the most prolific (over 6,000 works!) and highly regarded German composer, even surpassing his friends J.S. Bach and Handel in renown.

Telemann was, for the most part, musically self-taught. He played a host of instruments, learned the writer's art by studying the scores of other composers, and worked in almost every genre of the day, including operas, oratorios and passions, cantatas, sonatas, songs, motets, quartets and quintets. Though knowledgeable about the "learned" style of Baroque music, Telemann embraced and assisted in developing the style galant, where melody and simpler textures predominated.

A leading force in Germany's musical life, Telemann helped found three colegia musica (forerunners of the modern concert societies) and instigated public concerts in churches and sacred music performances in secular environments. He always held several posts concurrently. When he settled in Hamburg (1721), he was Town Cantor (responsible for supervising grammar school music and the directorship of five churches) and director of the Opera. Constantly endeavoring to bring music to a wider audience, Telemann engraved his own compositions at a time when publishing in Germany was in its infancy. his fights with the Hamburg municipal press (he was also a lawyer) led to the development of German copyright laws. At the same time, he was Kapellmeister at Large for both the Margrave of Bayreuth and the Duke of Saxe-Eisenach, whom he also served as an economic and political correspondent. He was a poet, who wrote texts for some of his own works; a botanist, who shared his enthusiasms with Handel, and a three-time autobiographer, who also wrote treatises on theory and ornamentation. He founded the first music journal in Germany.

An innovator and voracious assimilator, Telemann commanded a wealth of styles ranging from French, Italian and German Baroque to Rococo and, in some instances, early Classical practice. Not shackled by rigid formulas, his variety in form and orchestration, spirited rhythms (with inspired touches of syncopation) and constant development of ideas are the hallmarks of his originality and freshness.
The french influence predominates in the Suite in E Minor (whose first chord is E Major) with its Lullian French overture, stylized dance movements and use of an extra-musical title, the Carillon.

Telemann employed a variety of forms, number of movements and styles in his concertos, and his themes usually evince a remarkable evolutionary use of motives. For example, in the three-movement Flute Concerto in G Major, the opening nine measures of the da capo Allegro ma non troppo contain all the motivic fragments, that, rearranged, altered, extended and reorchestrated, make up the whole movement - a perfect complement of contrast and cohesiveness. Not without humor, Telemann signed this work "Signore Melante," an anagram for his name.
In the four-movement D-Major Concerto (beginning with a lilting minuet) and in the five-movement E-Minor Concerto, there is increased interplay between the flute and violin(s). In the latter Concerto, the orchestra shines alone in the scampering Presto.

The seemingly endless inventiveness found in Telemann's spirited fast movements is mirrored in his supremely lyrical slow movement,s eacha gem in its own right. Thus, it is easy to explain Telemann's popularity in the eighteenth (and twentieth) century: His works are extremely beautiful and exceptionally well-crafted -- masterpieces that stand with the best of his era and that can be admired and loved by everyone from amateurs to astute musicians.


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专辑曲目

Ouvertüre (Suite) for Flute, Strings & Basso Continuo (E Minor / e-moll / mi mineur)
01. Ouvertüre 6:02
02. II-Rigaudon 2:33
03. III-Carillon 1:22
04. IV-Air, Tendrement 2:41
05. V-Menuet I, Menuet II 2:19
06. VI-Gigue 2:20

Concerto in G Major for Flute with Violins and Basso Continuo
07. I-Allegro ma non troppo 5:00
08. II-Adagio 2:28
09. III-Allegro 3:12

Concerto in D Major for Flute and Strings
10. I-Moderato 2:30
11. II-Allegro 3:14
12. III-Largo 3:18
13. IV-Vivace 3:15

Concerto in E Minor for Flute and Strings (Concerto á sei)
14. I-Allegro 2:34
15. II-Adagio 2:04
16. III-Presto 1:12
17. IV-Adagio V-Allegro 3:12

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