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Sol Gabetta -《法斯克斯:《存在》》(Vasks - Presence)[FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间2015年11月13日
  • 时间: 2017/08/08 12:00:16 发布 | 2017/08/08 16:08:53 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Vasks - Presence
专辑中文名法斯克斯:《存在》
艺术家Sol Gabetta
古典类型全集作品
资源格式FLAC
发行时间2015年11月13日
地区美国
语言英语
简介

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专辑介绍:

修儿.嘉碧妲 Sol Gabetta (大提琴)
伊莲.提玛契夫-嘉碧妲 Irène Timacheff-Gabetta (管风琴)
阿姆斯特丹小交响乐团 Amsterdam Sinfonietta
肯迪妲.汤普森 Candida Thompson (指挥)


大提琴巨星修儿.嘉碧妲2015年末献给纷扰世界的绝美心灵之音。
「神圣低限主义」名家、拉脱维亚作曲家法斯克斯的三首经典代表作。
献给修儿的《存在》世界首次录音、修儿与母亲合奏的《夜晚音乐》、修儿琴音与人声交织的《大提琴之书》。


在修儿.嘉碧妲琴弓下流泄的音符,无论是巴洛克的韦瓦第、或大提琴传统经典、乃至於现代音乐,她信手拈来总是让乐迷心悦诚服,2013年修儿来台演出的安可曲,挑选拉脱维亚作曲家法斯克斯的《大提琴之书》,她又唱又拉让现场观眾沈醉不已,而这张2015年末发行的最新录音,正是这位当代作曲大师最重要的三首代表作。


彼得里斯.法斯克斯(Pēteris Vasks)是「神圣低限主义」(Holy Minimalism)的重要人物,1946年出生於波罗的海三小国之拉脱维亚,他的创作根植於民间文化与宗教特性,藉由低限主义的手法,呈现出人与自然与社会之间的关连与衝突,作品充满了丰富灵魂和精妙旋律。第二号大提琴与弦乐协奏曲《存在》(Klātbūtne)是接受阿姆斯特丹小交响乐团委託,并呈献给嘉碧妲,2012年10月25日进行首演,获得巨大的成功。


这是《存在》的首次世界录音,一样是由嘉碧妲主奏、音乐总监肯迪妲.汤普森(Candida Thompson)指挥阿姆斯特丹小交响乐团,作曲家法斯克斯也参与录音计画,在第三乐章传来嘉碧妲的吟唱,美得令人动容。此外专辑收录1988年发表的《夜晚音乐》(Musique du Soir),由嘉碧妲与她的母亲、专业管风琴师伊莲.提玛契夫-嘉碧妲(Irène Timacheff-Gabetta)担任二重奏,中段的管风琴和声,在静謐的大提琴声中倏然响起,充满神圣低限主义的况味。


最后是法斯克斯1978年发表的《大提琴之书》(Grāmata čellam),这是作曲家早期受欢迎的大提琴独奏曲,两乐章「极强音」与「极弱音」有著明显的对比。修儿在少女时期即朝思暮想希望能够演奏,2010年在RCA时期曾先录制过单曲专辑。请您諦听修儿的演奏与歌唱,在这动盪不安的乱世中,感受法斯克斯用真挚的音乐力量洗涤沈淀我们纷扰的心灵。


曲目 :
Concerto No. 2 for Cello and String Orchestra, "Klatbutne / Presence"
I. Cadenza - Andante cantabile
II. Allegro moderato
III. Adagio
Musique du Soir pour Violoncelle et Orgue
Gramata cellam
I.Fortissimo
II. Pianissimo


Sol Gabetta / Vasks: Presence
修儿.嘉碧妲 / 法斯克斯:《存在》
发行公司:SONY MUSIC
演出者:修儿.嘉碧妲 Sol Gabetta
产品编号:88725423122
发行日期:2015/12/15
张数:1 张 - 1CD

引用
Release Date November 13, 2015
Duration 01:00:35
Genre Classical
Styles Concerto Chamber Music
Recording DateNovember 9, 2009 - November 12, 2009
Recording Location Evangelische Kirche, Niedereggenen, Germany Koncerthuset Dr Byen, Kopenhagen, Denmark Stadsgehoorzaal, Leiden, Netherlands

AllMusic Review by James Manheim [-]
The cellist Sol Gabetta is emerging as a major star of her instrument, with equal facility in repertory concertos, chamber music, and contemporary composition. Here, in an album marking the 70th birthday of Latvian composer Peteris Vasks, she offers a gorgeous take on Eastern European minimalism. The album is compiled from a pair of session sets, and although carefully mastered the sonic joints are audible. You can see why Sony Classical wanted the final work included, though: the best is saved for last with Gramata Cellam, an early work that really sounds like neither of Vasks' two influences, Henryk Górecki and Arvo Pärt. The two movements of this solo cello work fall into a strong contrast that sets him apart from those two composers, and the cries of pain and the vocal passage in the work are also extremely unusual. The other two pieces, a sizable Cello Concerto No. 2 and a little nocturne for cello and organ, are more tonal, and you might add Samuel Barber to the list of composers evoked. Gabetta shines in both, holding the listener rapt through the music's long lines. Music of an underrated composer, played with passion by a rapidly rising young instrumentalist: it doesn't get much better than this.

Audio CD (January 8, 2016)
Number of Discs: 1
Label: SONY MASTERWORKS
Run Time: 61 minutes
ASIN: B012HOEH0U
Average Customer Review: 4.6 out of 5 stars

Pēteris Vasks’ music has grown in popularity in recent years, and he is now well represented via a variety of CD labels, as a quick search through these pages will show. The genesis of this Second Cello Concerto started with Sol Gabetta’s encountering another work on this programme, the solo piece Grāmata čellam, which uses the human voice as part of its content. Gabetta asked Vasks to include the human voice in the concerto as it “introduces an element of polyphony into the piece that you otherwise don’t get with the solo instrument on its own.”

Vasks indicates his happiness with this concerto and this performance, so we’re off to a good start. Ably accompanied by the excellent Amsterdam Sinfonietta, the first movement is an expressive and deeply romantic Andante cantabile, the core of which emerges only after a ‘slow-burn’ opening cadenza from the soloists. The central movement opens with an energetic Allegro moderato, but not too many minutes pass before the mood changes to a section with some Shostakovich-like profundity. Vasks sees the quicker, rhythmic aspects of this movement as a place “in which even negative ideas – the feelings of aggression – can be processed… it is [also] possible to hear the sarcastic and ironical tutti passages” in this movement, but the message is deadly serious: “there is a final chord in this second movement that sounds like a scream.”

The final Adagio is “the most important passage in the whole work: the key canto…”, and if you are a fan of Barber’s Adagio then you can gather some of the atmosphere created here. Vasks sees this work as being “dominated by a mood that suggests the soul ascending into the cosmos,” with ideas of the soul returning to earth to start a new life that takes a vocal form. Listeners waiting for this magical moment will find it almost at the end, 11.00 into the last movement. I have the feeling there would have been more opportunities to heighten certain expressive moments with this aspect of the commission, and in some ways see it as a missed opportunity, but that’s just my humble opinion. There is plenty of passion and eloquence in this movement to go along with the beauty and repose, and the whole work is very fine and superbly crafted.

Musique du Soir for cello with organ was originally written for hunting horn and organ, though you would never guess it from this version. The free and expressive cello singing over slowly moving harmonies from the “great and majestic” organ make for a gorgeous experience, though the organ – here played by the cellist’s mother – is by no means used to overpower and impress, and the acoustic is more chapel than church.

Grāmata čellam for cello solo is divided into two movements, the first being “very intense and tragic”, the second “very soft, sad, with a heartfelt singing line.” As you might expect, this is the most ‘difficult’ of the pieces in this programme but its rewards rise above its demands, as do Sol Gabetta’s technical abilities rise above its challenges. With masses of character and expressive depth, this is very much a reference recording, and Vasks complements the performance with his final words in the booklet, “the soul can breathe, it can sing.”

Dominy Clements


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专辑曲目

01. Concerto No. 2 for Cello and String OrchestrConcerto No. 2 for Cello and String Orchestra. "Klatbutne / Presence" : I Cadenza - Andante cantabile (9:27)
02. Concerto No. 2 for Cello and String Orchestra. "Klatbutne / Presence" : II. Allegro moderato (13:06)
03. Concerto No. 2 for Cello and String Orchestra. "Klatbutne / Presence" : III. Adagio (12:26)
04. Musique du Soir pour Violoncelle et Orgue (12:47)
05. Gramata cellam - I. Fortissimo (5:21)
06. Gramata cellam - II. Pianissimo (7:25)

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