06-贝多芬爱乐乐团托马斯·勒斯纳 - 《声音》2020年，Hi-Res，24B - 96.0kHz
艺术家：贝多芬爱乐乐团、托马斯·勒斯纳
作品名称：《声音》
发行年份：2020年
厂牌：奥德拉德克唱片公司
音乐类型：古典音乐
音质：无损FLAC格式 / FLAC格式，24比特 - 96.0千赫兹
总时长：00小时59分38秒
总大小：261兆字节 / 1.03吉字节
网站：专辑预览
曲目列表
01. 《颤抖吧，恶人，颤抖吧》，作品116号：第一乐章 快板
02. 《颤抖吧，恶人，颤抖吧》，作品116号：第二乐章 柔板
03. 《颤抖吧，恶人，颤抖吧》，作品116号：第三乐章 很快的快板
04. 《我怎能把你忘记……别害怕，亲爱的》，K. 505
05. D大调钢琴协奏曲，作品61a号：第一乐章 不过分的快板
06. D大调钢琴协奏曲，作品61a号：第二乐章 广板
07. D大调钢琴协奏曲，作品61a号：第三乐章 回旋曲
钢琴家哈维尔·内格林和指挥家托马斯·勒斯纳与贝多芬爱乐乐团、女高音陈·赖斯、男高音扬·佩特里卡以及男中音保罗·阿明·埃德尔曼一同回归奥德拉德克唱片公司，以一张华丽的专辑来庆祝贝多芬诞辰250周年，专辑中收录了一些鲜为人知的作品。这张专辑以贝多芬的“三重唱”《颤抖吧，恶人，颤抖吧》开场，以贝多芬小提琴协奏曲改编的钢琴协奏曲收尾。中间穿插着莫扎特为女高音、钢琴和管弦乐队创作的音乐会咏叹调《我怎能把你忘记？》，作品编号K. 505。专辑标题《声音》，不仅指专辑中呈现的声乐作品，也暗指贝多芬协奏曲中旋律线条所具有的歌唱性特质。
陈·赖斯是莫扎特《我怎能把你忘记？》以及贝多芬三重唱作品的核心演绎者，她是歌剧界的一颗冉冉升起的新星，美国《歌剧新闻》称赞她“音色完美无瑕且极具吸引力，同时展现出卓越的音乐素养”。莫扎特为自己和女高音南希·斯托雷斯创作了这首音乐会咏叹调，南希·斯托雷斯曾在莫扎特的歌剧《费加罗的婚礼》中饰演苏珊娜。在这次录音中，陈·赖斯与钢琴家哈维尔·内格林搭档，哈维尔·内格林凭借在奥德拉德克唱片公司发行的个人专辑收获了广泛赞誉，比如他演奏格拉纳多斯和蒙波的专辑《痕迹》，被《BBC音乐杂志》评价为“演奏优雅、美妙且饱含深情”。《留声机》杂志也对该专辑赞赏有加：“内格林敏锐而细腻地诠释，他精心地将众多的节奏变化、力度爆发以及先前主题的重复编织成一个流畅且令人满足的整体”，《艺术报》也评价道：“内格林懂得含蓄和克制的必要。在演奏第八变奏曲时，他处理得如此美妙，可能会让人潸然泪下”。
哈维尔·内格林将这些特质融入到对贝多芬小提琴协奏曲钢琴改编版的诠释中，他在专辑小册子里形容这个版本“完全契合原作风格”，并补充道：“对我而言，这段音乐传达的是和解与接纳；它有一种非常宁静的美感和纯净的情感”。与贝多芬的器乐和合唱作品相比，他的歌剧作品一直被忽视，因此能听到《颤抖吧，恶人，颤抖吧》这样的珍稀之作实属难得，这部作品创作于贝多芬师从安东尼奥·萨列里时期。正如托马斯·勒斯纳在专辑小册子里所解释的：“在我看来，这首三重唱似乎预示了《费德里奥》中莱奥诺拉、弗洛雷斯坦和皮萨罗之间的三重唱……贝多芬显然意识到了这首三重唱的高品质，因为这是他这些学习作品中唯一一部被他完整地配器，并且在他有生之年至少在音乐会上演奏过两次的作品。在我看来，让更多人了解这部美妙的作品显得尤为重要”。
此次录音中，男高音扬·佩特里卡和男中音保罗·阿明·埃德尔曼与陈·赖斯以及贝多芬爱乐乐团共同演绎，贝多芬爱乐乐团是一支为演奏此类曲目而组建并专注于此的奥地利乐团。托马斯·勒斯纳指挥的奥德拉德克唱片公司发行的《色彩》（普朗克和凯什兰的作品）也广受赞誉：“勒斯纳对乐句的把握精准无误，乐手们的回应也十分出色，塑造出的音乐形态优美且从无偏差” 。
Artist: Beethoven Philharmonie, Thomas Rösner
Title: Voices
Year Of Release: 2020
Label: Odradek Records
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 00:59:38
Total Size: 261 mb / 1.03 gb
WebSite: Album Preview
Tracklist
01. Tremate, empi, tremate, Op. 116 I. Allegro
02. Tremate, empi, tremate, Op. 116 II. Adagio
03. Tremate, empi, tremate, Op. 116 III. Allegro molto
04. Ch'io mi scordi di te... Non temer, amato bene, K. 505
05. Piano Concerto in D major, Op. 61a I. Allegro ma non troppo
06. Piano Concerto in D major, Op. 61a II. Larghetto
07. Piano Concerto in D major, Op. 61a III. Rondo
Pianist Javier Negrín and conductor Thomas Rösner return to Odradek in the company of the Beethoven Philharmonie, soprano Chen Reiss, tenor Jan Petryka and baritone Paul Armin Edelmann, to celebrate Beethoven's 250th anniversary year with a sumptuous album of rarely heard works. The collection opens with Beethoven's "terzetto", 'Tremate, empi, tremate', and ends with the Piano Concerto arrangement of Beethoven's Violin Concerto. These frame Mozart's concert aria for soprano, piano and orchestra, 'Ch'io mi scordi di te?' K. 505. The album title, 'Voices', alludes not only to the vocal works featured on the album, but to the singing quality of Beethoven's melodic lines in the Concerto. Chen Reiss, who is at the heart of Mozart's 'Ch'io mi scordi di te?' as well as Beethoven's terzetto, is a rising star of the opera world, praised by Opera News, USA for her "immaculately produced and enticing tone matched by superb musicianship". Mozart wrote this concert aria for himself and the soprano Nancy Storace, who had played Susanna in his opera, 'The Marriage of Figaro'. For this recording, Chen Reiss is paired with pianist Javier Negrín, who has enjoyed considerable acclaim for his solo Odradek releases, such as his Granados and Mompou album, 'Traces', "played with elegance, beauty and affection" (BBC Music Magazine). The release was also praised in Gramophone: " pointed and sensitively shaped reading Negrín assiduously weaves the numerous tempo shifts, dynamic outbursts and reiterations of earlier themes into a fluid, fulfilling whole", and by The Arts Desk: "Negrín understands the need for understatement, for restraint. The eighth variation may induce tears, so beautifully does Negrín handle it." Javier Negrín brings these qualities to this interpretation of Beethoven's piano transcription of the Violin Concerto, a version he describes in the album booklet as "totally idiomatic", adding: "To me, this music speaks about reconciliation and acceptance; it has a very serene beauty and purity of sentiment." Beethoven's operatic output has been neglected compared with his instrumental and choral works, so it is a treat to hear the rare gem, 'Tremate, empi, tremate', written when he was being taught by Antonio Salieri. As Thomas Rösner explains in the album booklet: "To me, this terzetto seems like an anticipation of the trio between Leonore, Florestan and Pizarro in 'Fidelio'... Beethoven was clearly aware of the high quality of this trio, since it is the only one of these study works that he has completely orchestrated and had performed in concerts at least twice during his lifetime. It seems all the more important to me to raise awareness of this wonderful work." This recording features tenor Jan Petryka and baritone Paul Armin Edelmann alongside Chen Reiss and the Beethoven Philharmonie, an Austrian ensemble created for and specialising in performances of this repertoire. Praise for Thomas Rösner's direction of 'Couleurs' (Poulenc and Koechlin) on Odradek: "Rösner's focus on the phrase is inerrant and the musicians respond with gorgeously contoured shapes that never miss their mark"
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