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Isabelle Faust -《巴哈:无伴奏小提琴奏鸣曲与组曲》(Bach - Sonatas & Partitas, Vol. 2)[24 bits 96 KHz][FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2012年09月12日
  • 时间: 2016/11/23 11:48:42 发布 | 2016/11/23 18:22:58 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Bach - Sonatas & Partitas, Vol. 2
专辑中文名巴哈:无伴奏小提琴奏鸣曲与组曲
艺术家Isabelle Faust
古典类型全集作品
资源格式FLAC
版本[24 bits 96 KHz]
发行时间2012年09月12日
地区美国
语言英语
简介

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专辑介绍:

HMC902124 伊莎蓓儿·佛斯特/巴哈:无伴奏小提琴奏鸣曲与组曲 Faust/Bach:Sonatas&Partitas BWV1001-3 (harmonia mundi)

巴哈写给小提琴独奏的三首奏鸣曲和组曲,无疑是西方小提琴音乐的高峰。无论是在演奏或是作曲技巧,都设立了全新标準,几个世纪以来始终是屹立不摇。巴哈的二儿子卡尔.菲利普.艾曼纽曾说「这些作品代表父亲对弦乐器惯用手法的丰富知识,是第一手也是最重要的纪录。」自1997年於HM发首张专辑以来,佛斯特一直都是该厂牌的亮点演奏家,今年亦提名留声机年度最佳艺人。2012年初佛斯特与阿巴多合作,二度灌录贝多芬小提琴协奏曲造成极大迴响。但是不少乐迷最期盼的仍旧是佛斯特何时能把先前录制的巴哈无伴奏小提琴奏鸣曲和组曲补完,BBC第三广播电臺主持人,同时也是BBC音乐杂誌乐评安德鲁.麦奎格对佛斯特上一张无伴奏专辑的评论是「兼具穆洛娃的力道、伊布拉吉莫娃的亲近感、茱莉亚.费雪的果敢以及拉克儿.波洁的愉悦...唯一美中不足的就是只有收录当中三首,快点给我下集吧!」是的,经过两年的等待,第二集终於将在今年夏天引爆古典乐迷沸腾的心!也衷心期盼佛斯特有朝一日能来台以乐会友。

商品条码 : 3149020847442
商品编号 : HMX290847475
演奏者 : 伊莎贝拉佛斯特 Faust, Isabelle - 查看所有专辑
指挥家 :
乐团 :
作曲家 : 巴哈 J.S. Bach - 查看所有专辑
专辑名称 : 巴哈:无伴奏小提琴奏鸣曲与组曲全集
J.S. Bach : Sonatas & Partitas for solo violin, BWV1001-1006
音乐类型 : 古典音乐 [CD 独奏曲]
发行公司/日期 : 上扬 2016/4/11
制作公司 : harmonia mundi
内含片数 : 2

引用
Performer: Isabelle Faust
Conductor: None
Composer: Johann Sebastian Bach
Audio CD (September 12, 2012)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: HARMONIA MUNDI
ASIN: B007X98S82
Average Customer Review: 4.8 out of 5 stars

BACH Solo Violin Sonatas: No. 1 in g, BWV 1001; No. 2 in a, BWV 1003. Solo Violin Partita No. 1 in b, BWV 1002 • Isabelle Faust (vn) • HARMONIA MUNDI 6902124 (60:22)

In Fanfare 34:2, I urgently recommended the first volume of Isabelle Faust’s collection of Johann Sebastian Bach’s Solo Violin Sonatas and Partitas for the Read more Presto—like Milstein’s various readings of this sonata, this one’s hardly academic, though it probes deeply, wearing its learning lightly—and elegantly.

Faust sharpens the dotted rhythms in the First Partita’s Allemande, creating excitement in the place of mere ritual acknowledgment of the movement’s piquant-looking rhythms. Her light and liquid grace in the Double provides a perfectly balanced foil. She accents the Corrente very strongly, yet again indulges rhythmic flexibility (enhanced by a cornucopia of articulations) that preserves the movement from any hint of the mechanical; and she pairs it with a performance of the Double that gives the impression, perhaps because of the giddy clarity of her détaché bowing, of being more rapid than almost anybody’s, except maybe Ruggiero Ricci’s (teachers often advise students that evenness at a slower tempo sounds quicker than a faster irregular speed). Her double-stops in the Sarabande sound resonant and sweetly in tune, and her gloss in the Double haunting and reflective. In the Tempo di Borea, she opens the shutters to a clean, bright light, with overall crisp articulation adding definition to her feathery bow stroke, and her playing of the Double extends this manner to the end of the work.

Even those who consider the Second Sonata the most abstract of the set should be convinced by the sense of almost ruminative, improvisatory freedom that Faust brings to its Grave. Her reading of the fugue at least seems to emphasize the subject’s compact geometry less than its linear flow, yet she provides plenty of punctuation, dividing the piece clearly into contrasting if complementary sections. She doesn’t linger over nuances in the Andante’s accompanied melody, but continually moves the melody and its musical argument forward. In the final Allegro, she adopts an approach heavier than she took in the first sonata’s Presto—perhaps in order to realize its almost concerto-like virtuosity and weight.

The engineers have captured Faust up close—close enough to pick up breathing, some of it, it seems, rather heavy, although not heavy enough to serve as a distraction in such a performance. For on the whole, Faust has encompassed in this set goals (whether she explicitly adopted them or not) that have eluded so many of her contemporaries: a thoughtful individuality that’s free from quirkiness and a style of bowing that suggests the period but still exhibits an almost seductive tonal sheen. Like Milstein, in either of his recordings, this is magisterial, authoritative—and urgently recommended.


FANFARE: Robert Maxham


---------

For ordinary people who are not violinists—or for violinists who may be just ordinary—imagining what talent, what dedication, what effort, what sheer will it would take to learn to play just one of the Bach solo sonatas or partitas is daunting enough; but to arrive at the place, and especially at a relatively young age, at which you can perform all six of these formidably challenging works is something really special, something that few performers accomplish. Add to this setting down every one of the thousands of notes in front of a microphone in a modern digital recording studio, where every tiny detail, every nuance, every scratch of the bow, every point of intonation, from single pitches to double and triple and quadruple stops, will be captured without mercy.

Some performers and their recording teams go to great trouble to try to present perfection: a young Shlomo Mintz told me in an interview that for his 1984 DG recording, he did more than 2,000 takes. Others, that is, most everyone else, without such luxury of studio time, and with considerably more daring, just play, opting for the benefit of momentum, and for the interpretive consistency achieved with fewer interruptions. And still others, such as Isabelle Faust, choose to split the project into two parts; her first volume in this set was released in 2010, and this completion wasn’t recorded until more than a year later.

Whatever logistical approach Isabelle Faust took in recording this second and final volume of her sonata/partita traversal for Harmonia Mundi, her playing certainly doesn’t have you thinking of edits or any other studio manipulation. As in her earlier effort, she just convinces you that she owns these works—that her way is as natural, unmannered, and stylistically appropriate as that of any of the more eminent artists who’ve traversed this territory, backed up with the kind of technical polish and assurance that dispels criticism, or at least attracts our admiring attention.

Faust doesn’t take her time: her slow movements in the sonatas are urgent and dramatic, while her fast movements—the Double: Presto in the Partita; the Presto in the first sonata—are as super-charged as any on disc, as nimble and quick as Milstein, who (on his classic 1950s EMI recording) takes only the first repeats. Faust’s bowing is more fluid, her articulation less deliberate, and her expressive insertions effectively more engaging than James Ehnes’ much more deliberate, carefully judged expression in his equally valid reference interpretations. And Faust truly knows how a 21st-century violinist should handle an 18th-century violin, freely exploiting the vibrant, venerable voice of her 1704 “Sleeping Beauty” Stradivarius.

You may judge some of her tempo decisions to be too fast or too slow, or her ornamentation too subtle or too generous, but overall it’s hard to conclude anything but that Faust is one of today’s premier interpreters of this cornerstone of violin repertoire. If you already own a favorite set of these works, you probably don’t need this; but if you’re looking for a solid performance and recording that will certainly stand the test of time, you won’t go wrong here. And the sound, from a Berlin studio in September, 2011, is excellent.

David Vernier, ClassicsToday.com


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专辑曲目

Sonata I BWV 1001 in G minor / sol mineur / g-Moll
01. I. Adagio 3'49
02. II. Fuga. Allegro 4'32
03. III. Siciliana 2'30
04. IV. Presto 3'11

Partita I BWV 1002 in B minor / si mineur / h-Moll
05. I. Allemanda 4'51
06. II. Double 2'19
07. III. Corrente 2'57
08. IV. Double 3'10
09. V. Sarabande 2'59
10. VI. Double 2'09
11. VII. Tempo di Borea 2'55
12. VIII. Double 3'10

Sonata II BWV 1003 in A minor / la mineur / a-Moll
13. I. Grave 4'10
14. II. Fuga 7'54
15. III. Andante 4'07
16. IV. Allegro 5'29

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