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Buniatishvili -《萧邦:第二号钢琴协奏曲、第二号奏鸣曲》(Chopin - Piano Concerto No. 2, Sonata No. 2)[24 bits 44 KHz][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: 2016/11/07 14:01:55 发布 | 2016/11/07 15:29:39 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Chopin - Piano Concerto No. 2, Sonata No. 2
专辑中文名萧邦:第二号钢琴协奏曲、第二号奏鸣曲
艺术家Buniatishvili
古典类型全集作品
资源格式FLAC
版本[24 bits 44 KHz]
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:

◎帕佛.贾维(指挥)巴黎管弦乐团
◎卡蒂雅继深获好评的「李斯特」首张专辑,再度推出萧邦全新录音作品,收录五首作品
◎乔治亚籍的卡蒂雅曾被BBC广播电台选为2009-2011年度「新生代艺术家」(New Generation Artist),维也纳爱乐协会评选为2011/2012乐季的「闪耀之星」(Rising Star)
◎专辑特别以enhanced CD格式呈现,将CD放进电脑里,即可看到由卡蒂雅构思演出的短片「Warsaw-Paris」

媒体评论
「这位23岁的乔治亚女孩,毫无疑问地是音乐界这些年来,最令人惊喜的一位国际新锐钢琴家。」 ~ Rondo Magazine
「年轻艺术家卡蒂雅有著独特的气质与弹奏技巧,让人想起年轻时的阿格丽希。」~ Classic FM

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,Op. 21,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,Op. 52、充满斯洛维克稳重温暖风格的第二号华尔兹,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」(New Generation Artist),之后又被维也纳爱乐协会评选为2011/2012乐季的「闪耀之星」(Rising Star)。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(Orchestre de Paris)的指挥帕佛.贾维(Paavo Jarvi)继续合作,八月与伊莉莎白皇后大赛小提琴首奖得主陈锐(Ray Chen)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】

1 Waltz in C-Shpar minor op.64/2
2-5 Sonata No.2 in B-flat minor op.35
6 Ballade NO.4 in F Minor op.52
7-9 Piano Concerto No.2 in F minor)
10 Mazurka in A minor op.17/4
5-8 Johannes Brahms: Quartet No. 3 in C minor for Piano and Strings, Op. 60


Chopin / Khatia Buniatishvili
萧邦:第二号钢琴协奏曲、第二号奏鸣曲、第二号华尔兹、A小调马祖卡舞曲、第四号叙事曲 / 卡蒂雅 (钢琴)
发行公司:SONY MUSIC
产品编号:88691971292
发行日期:2012/09/04
张数:1 张 - 1CD

引用
Audio CD (September 18, 2012)
SPARS Code: DDD
Number of Discs: 1
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.



The sonata is in four movements:

Grave – Doppio movimento (in B♭ minor and in modified sonata form with the first subject absent in the recapitulation, ending in B♭ major) The first movement features a stormy opening theme and a gently lyrical second theme.
Scherzo (in E♭ minor and in ternary form, middle section and ending in G♭ major) The second movement is a virtuoso scherzo with a more relaxed melodic central section.
Marche funèbre: Lento (in B♭ minor and in ternary form) The third movement begins and ends with the celebrated funeral march in B♭ minor which gives the sonata its nickname, but has a calm interlude in D♭ major. While the term “funeral march” is perhaps a fitting description of the 3rd movement, complete with the Lento Interlude in D♭ major, the expression “Chopin’s Funeral March” is used commonly to describe only the funeral march proper (in B♭ minor). It was played at the graveside during Chopin’s own burial at Père Lachaise Cemetery in Paris.
Finale: Presto (in B♭ minor) The finale contains a whirlwind of unremitting parallel octaves, with unvarying tempo and dynamics, and not a single rest or chord until the final bars with a sudden fortissimo B♭ octave and a B♭ minor chord ending the whole piece.
The emotive “funeral march” has become well known in popular culture. It was used at the state funerals of John F. Kennedy, Sir Winston Churchill and Margaret Thatcher and those of Soviet leaders, including Leonid Brezhnev.


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专辑曲目

01. Waltz in C-Sharp Minor, Op. 64, No. 2: Tempo giusto 3:19
02. Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Grave - Doppio movimento 6:03
03. Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Scherzo 6:47
04. Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Marche funèbre: Lento 8:28
05. Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Sonata No. 2 in B-Flat Minor, Op. 35 "Funeral March": Finale: Presto 1:15
06. Ballade No. 4 in F Minor, Op.52 - Andante con moto 10:26
07. Piano Concerto No. 2 in F Minor, Op. 21: Piano Concerto No. 2 in F Minor, Op. 21: I. Maestoso 13:09
08. Piano Concerto No. 2 in F Minor, Op. 21: Piano Concerto No. 2 in F Minor, Op. 21: II. Larghetto 8:54
09. Piano Concerto No. 2 in F Minor, Op. 21: Piano Concerto No. 2 in F Minor, Op. 21: III. Allegro vivace 7:33
10. Mazurka in A Minor, Op. 17, No. 4: Lento ma non troppo 4:54

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