15-费利克斯·里恩特《毛罗·朱利亚尼咏叹调艺术歌曲与短抒情曲》（2020年）Hi-Res
艺术家：费利克斯·里恩特、阿列克谢·维亚纳、阿列克谢·维亚纳、毛罗·朱利亚尼专辑名称：《毛罗·朱利亚尼：咏叹调、歌曲与抒情短歌》
发行年份：2020年
厂牌：虚荣唱片公司（Vanitas）
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 48.0千赫兹
总时长：44分55秒
总大小：203兆字节 / 439兆字节
网站：专辑预览
曲目列表
01. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第1首 《温柔的阴影》
02. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第2首 《在所有的痛苦中》
03. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第3首 《当那一天到来时》
04. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第4首 《爱不喜欢居所》
05. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第5首 《被另一根绳索》
06. 《梅塔斯塔西奥的六首咏叹调》，作品95号：第6首 《两颗美丽的心灵》
07. 《六首歌曲》，作品89号：第1首 《离别》
08. 《六首歌曲》，作品89号：第2首 《远方的歌》
09. 《六首歌曲》，作品89号：第3首 《离别》
10. 《六首歌曲》，作品89号：第4首 《歌曲》
11. 《六首歌曲》，作品89号：第5首 《小夜曲》
12. 《六首歌曲》，作品89号：第6首 《致命运》
13. 《六首抒情短歌》，作品39号：第1首 《仿佛灵魂因喜悦而发狂》
14. 《六首抒情短歌》，作品39号：第2首 《困惑，迷失》
15. 《六首抒情短歌》，作品39号：第3首 《对着我所有的泪水》
16. 《六首抒情短歌》，作品39号：第4首 《啊！别说我不爱你》
17. 《六首抒情短歌》，作品39号：第5首 《我感觉到对女人的爱》
18. 《六首抒情短歌》，作品39号：第6首 《已接近终点》
毛罗·朱利亚尼在音乐界被誉为 “吉他界的莫扎特”。在意大利家乡完成学业后，他在维也纳生活了很长时间，在那里他作为一名成功的吉他手、作曲家和教师开展工作。他不仅在那里创作了100多部作品，还是一位大提琴大师。据说在1813年，朱利亚尼是贝多芬亲自指挥的《第七交响曲》首演时的大提琴手之一。参与那场演出的其他艺术家还有贾科莫·梅耶贝尔、约翰·内波穆克·胡梅尔和安东尼奥·萨列里等杰出人物。作为在维也纳备受尊敬的艺术家，朱利亚尼很快与贝多芬成为了朋友，同时还结识了小提琴演奏家路易斯·施波尔和安东·迪亚贝利。作为他那个时代最杰出的吉他演奏家之一，朱利亚尼在维也纳的演出以及他在欧洲各地的巡回音乐会都受到了媒体和观众的热烈欢迎。例如他与路易斯·施波尔在维也纳雷杜特大厅举办的定期音乐会，就受到了观众们的无限热情。作为官方音乐会独奏家，毛罗·朱利亚尼还受邀在著名的维也纳会议上演奏。他的吉他作品由维也纳最著名的音乐出版商出版，其中一些作品还被改编成了钢琴版本。他众多的学生和崇拜者之一是奥地利皇后玛丽 - 路易丝，拿破仑的第二任妻子。在朱利亚尼的事业巅峰时期，她授予了他 “宫廷演奏家” 的头衔。他的作品也深受贝多芬和卡尔·马利亚·冯·韦伯的尊重和赞赏。1819年，朱利亚尼离开维也纳前往威尼斯，然后又到了罗马，显然是出于个人和经济方面的原因。在罗马期间，他与小提琴演奏家帕格尼尼以及作曲家焦阿基诺·罗西尼结下了深厚的友谊，他还经常作为室内乐音乐家与他们一起演出。1823年，他搬到了那不勒斯，在那里他久病之后年仅47岁便去世了。他没能实现回到维也纳的愿望。1833年，世界上第一本吉他杂志出版，为了纪念他，杂志被命名为《朱利亚尼传或吉他手杂志》。
这张唱片中录制的声乐作品证明了朱利亚尼对意大利歌曲的偏爱。特别是在《六首咏叹调》或 “小咏叹调” 中，作为一种较为简约的歌剧咏叹调形式，与意大利美声咏叹调的相似之处显而易见。这里所选的作品于1818年在维也纳出版，是献给皇后玛丽 - 路易丝的。所有歌词均由彼得罗·梅塔斯塔西奥创作，他无疑是当时最重要的歌剧脚本作家。
与此形成对比的是，朱利亚尼的《六首歌曲》，其歌词为歌德、席勒、马蒂松等人创作的德文诗，明显更接近弗朗茨·舒伯特的艺术歌曲。朱利亚尼在维也纳期间也结识了舒伯特。这些歌曲于1817年在维也纳出版，见证了维也纳美好时代（比德迈时期）的诞生，从和声与旋律的角度来看，它们具有很大的影响力。
最后，《六首抒情短歌》由六首意大利咏叹调组成，朱利亚尼巧妙地将精彩华丽的片段与细腻忧郁的片段形成对比，并且采用了明显类似歌剧的形式。有时，以罗西尼的风格，吉他替代了虚拟的管弦乐队。虽然朱利亚尼在声乐方面更喜欢外向的意大利风格，但吉他大多作为辅助伴奏，以琶音的形式弹奏和弦。或许例外的是第3首和第5首歌曲，它们对乐器的演奏技巧提出了极高的要求。这组歌曲于1813年由维也纳的阿塔里亚出版社首次出版，同时还推出了钢琴版本。它是献给弗朗切斯科·德·帕尔菲伯爵的，帕尔菲伯爵是朱利亚尼的学生和资助人之一，他经常邀请朱利亚尼在他位于维也纳的宫殿音乐会上担任独奏。
Artist: Felix Rienth, Alieksey Vianna, Aliéksey Vianna, Mauro Giuliani
Title: Mauro Giuliani: Ariette, Lieder & Cavatine
Year Of Release: 2020
Label: Vanitas
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz
Total Time: 00:44:55
Total Size: 203 / 439 mb
WebSite: Album Preview
Tracklist
01. Sei Ariette Di Metastasio, Op. 95: Nº 1 Ombre Amene
02. Sei Ariette Di Metastasio, Op. 95: Nº 2 Fra Tutte Le Pene
03. Sei Ariette Di Metastasio, Op. 95: Nº 3 Quando Sarà Quel Dì
04. Sei Ariette Di Metastasio, Op. 95: Nº 4 Le Dimore Amor Non Ama
05. Sei Ariette Di Metastasio, Op. 95: Nº 5 Ad Altro Laccio
06. Sei Ariette Di Metastasio, Op. 95: Nº 6 Di Due Bell'anime
07. Sechs Lieder, Op. 89: Nº 1 Abschied
08. Sechs Lieder, Op. 89: Nº 2 Lied Aus Der Ferne
09. Sechs Lieder, Op. 89: Nº 3 Abschied
10. Sechs Lieder, Op. 89: Nº 4 Lied
11. Sechs Lieder, Op. 89: Nº 5 Ständchen
12. Sechs Lieder, Op. 89: Nº 6 An Das Schicksal
13. Sei Cavatine, Op. 39: Nº 1 Par Che Di Giubilo L'alma Deliri
14. Sei Cavatine, Op. 39: Nº 2 Confuso, Smarrito
15. Sei Cavatine, Op. 39: Nº 3 Alle Mie Tante Lagrime
16. Sei Cavatine, Op. 39: Nº 4 Ah! Non Dir Che Non T'adoro
17. Sei Cavatine, Op. 39: Nº 5 Ch'io Sent'amor Per Femine
18. Sei Cavatine, Op. 39: Nº 6 Già Presso al Termine
Mauro Giuliani was known throughout the music world as the “Mozart of the guitar”. After completing his studies in his home town in Italy, he lived for a long time in Vienna, where he worked as a successful guitarist, composer and teacher. Not only did he write over 100 works there, he was also a master cellist. It is said that in 1813 Giuliani was one of the cellists at the first performance of Beethoven’s Seventh Symphony, conducted by the composer himself. Other artists contributing to this performance were luminaries such as Giacomo Meyerbeer, Johann Nepomuk Hummel, and Antonio Salieri. Being a highly revered artist in Vienna, Giuliani soon befriended Beethoven, as well as violin virtuosos Louis Spohr and Anton Diabelli. As one of the most brilliant guitar virtuosos of his time, Giuliani’s performances in Vienna and his concert tours throughout Europe were celebrated by the press and his audiences. The regular concerts held in the Viennese Redoute-Hall, for example those with Louis Spohr, were received with boundless enthusiasm. As the official concert soloist, Mauro Giuliani was also invited to play at the famous Viennese Congress. His guitar compositions were published by the most renowned music publishers in Vienna, some of them also as piano versions. One of his many students and admirers was Empress Marie-Louise of Austria, second wife of Napoleon. At the height of Giuliani’s career, she bestowed on him the title of “chamber virtuoso”. His work was also highly respected and admired by Beethoven and Carl Maria von Weber. In 1819, Giuliani left Vienna for Venice and then Rome, apparently for personal and financial reasons. During his stay in Rome he developed a close friendship with the violin virtuoso Paganini and the composer Gioachino Rossini, with whom he regularly performed as a chamber musician. In 1823 he moved to Naples, where he died aged just 47 after a long illness. He was not able to fulfil his wish to return to Vienna. When in 1833 the world’s first guitar magazine was published, it was named in his honour “The Giulianiad or Guitarist’s magazine”.
The vocal works recorded on this recording testify to Giuliani’s preference for Italian songs. Especially in the Sei Ariette or “Little Arias”, a more modest form of the opera aria, the resemblance to the Italian bel canto aria is unmistakable. The selection presented here, published in 1818 in Vienna, is dedicated to the Empress Marie-Louise. The texts were all written by Pietro Metastasio, the undoubtedly most important opera librettist of his time.
In contrast to this, Giuliani’s Sechs Lieder, or “Six Songs”, with their German texts by Goethe, Schiller, Matthisson and others, are clearly more similar to Franz Schubert’s Lieder, or “Songs”. Giuliani also met Schubert during his time in Vienna. Published in 1817 in Vienna, these songs bear witness to the birth of the Viennese Biedermeier period, and have a great impact from a harmonic and melodic standpoint.
Finally, the Sei Cavatine consist of six Italian arias, in which Giuliani contrasts skilfully brilliant pieces with sensitive melancholic ones, and this in a clearly opera-like format. At times, in the style of Rossini, the guitar replaces a virtual orchestra. Whilst Giuliani prefers the extroverted Italian style for the voice, the guitar is mostly the supporting accompaniment, with chords played in arpeggio. The exception to this rule might perhaps be songs 3 and 5, where the highest level of virtuosity is demanded of the instrument. This collection of songs was first published in 1813 by Artaria in Vienna, simultaneously as a piano version. It is dedicated to Count Francesco de Pálffy, one of Giuliani’s student and benefactors, who often invited him to play as a soloist at his palace concerts in Vienna.https://115cdn.com/s/sww68j936f5?password=za71&#
15-费利克斯·里恩特《毛罗·朱利亚尼咏叹调艺术歌曲与短抒情曲》（2020年）Hi-Res
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