07-迪娜·乌戈尔斯卡娅《肖斯塔科维奇小提琴奏鸣曲》（2020年）Hi-Res
艺术家：迪娜·乌戈尔斯卡娅、娜塔莉亚·普里舍彭科作品名称：《普罗科菲耶夫与肖斯塔科维奇：小提琴奏鸣曲》发行年份：2020年
厂牌：CAvi音乐公司
音乐类型：古典音乐
音质：分轨FLAC格式 / 24比特-48千赫兹（分轨+小册子）FLAC格式
总时长：59分23秒
总大小：217兆字节 / 554兆字节
网站：专辑预览
曲目列表
01. 《f小调第一小提琴奏鸣曲，作品80号》：第一乐章 很慢的行板（6分16秒）
02. 《f小调第一小提琴奏鸣曲，作品80号》：第二乐章 活泼的快板（7分15秒）
03. 《f小调第一小提琴奏鸣曲，作品80号》：第三乐章 行板（6分46秒）
04. 《f小调第一小提琴奏鸣曲，作品80号》：第四乐章 极快板（7分22秒）
05. 《G大调小提琴奏鸣曲，作品134号》：第一乐章 很慢的行板（10分44秒）
06. 《G大调小提琴奏鸣曲，作品134号》：第二乐章 小快板（7分04秒）
07. 《G大调小提琴奏鸣曲，作品134号》：第三乐章 广板。行板（14分00秒）
2016年2月，该专辑在慕尼黑巴伐利亚广播公司的2号录音室录制完成。在迪娜·乌戈尔斯卡娅身体状况不佳的这段时间里，她始终以极大的热情和令人难以置信的精力推进母带的后期制作工作，甚至亲自挑选并认可了塔季扬娜·弗鲁姆基斯撰写的小册子注释。对于这两位艺术家而言，这个项目无疑是一个独一无二的里程碑，他们原本还计划了许多后续的合作。
“………他们彼此的态度也充满矛盾。普罗科菲耶夫指责肖斯塔科维奇‘全盘照收’（指这位年轻作曲家大胆地将街头娱乐音乐的风格融入到他的古典音乐创作中），还断言肖斯塔科维奇没有旋律创作天赋。
而肖斯塔科维奇有时则觉得普罗科菲耶夫的音乐过于粗陋，过于直白地描绘场景。然而，尽管他们相互之间的批评大多有失公允，但两人始终都在关注着对方，或者更确切地说，是在留意着对方的音乐。自20世纪20年代起，他们的作品就常常一同出现在独奏音乐会的节目单上。
年轻的肖斯塔科维奇承认普罗科菲耶夫对他的某些作品产生过影响。普罗科菲耶夫在国外时，倡导‘俄罗斯与欧洲之间的文化交流’，尤其大力推广肖斯塔科维奇的作品，甚至希望他这位年轻的同行也能被允许到国外演出。但这一愿望最终未能实现。
从20世纪30年代末到50年代初，在极权统治下的苏联，他们的人生轨迹不断交织。从那时起，普罗科菲耶夫与肖斯塔科维奇之间这种未公开的竞争就从未停止过。（摘自塔季扬娜·弗鲁姆基斯撰写的小册子注释）”
Artist: Dina Ugorskaja & Nathalia Prishepenko
Title: Prokofiev & Shostakovich: Violin sonatas
Year Of Release: 2020
Label: CAvi-music
Genre: Classical
Quality: FLAC (tracks) / 24bit-48kHz FLAC (tracks+booklet)
Total Time: 59:23
Total Size: 217 / 554 MB
WebSite: Album Preview
Tracklist:
01. Violin Sonata No. 1 in F Minor, Op. 80: I. Andante assai (6:16)
02. Violin Sonata No. 1 in F Minor, Op. 80: II. Allegro brisco (7:15)
03. Violin Sonata No. 1 in F Minor, Op. 80: III. Andante (6:46)
04. Violin Sonata No. 1 in F Minor, Op. 80: IV. Allegrissimo (7:22)
05. Violin Sonata in G Major, Op. 134: I. Andante assai (10:44)
06. Violin Sonata in G Major, Op. 134: II. Allegretto (7:04)
07. Violin Sonata in G Major, Op. 134: III. Largo. Andante (14:00)
In February 2016 the recording took place in the Studio 2 of the Bayerischer Rundfunk in Munich. Dina Ugorskaja pursued the finishing process of the master with great impulse and unbelievable energy during all the time when her health abated, even to the point where she selected and approved herself the booklet notes by Tatjana Frumkis.This project will stay simply as a singular milestone, there was a lot planned by the two artists.
„………They were also ambivalent toward one another. Prokofiev accused Shostakovich of “devouring everything” (the fact that the younger composer dared to incorporate the street genres of entertainment music into his classical compositions), and affirmed that Shostakovich had no gift for melody.
Shostakovich, for his part, occasionally found Prokofiev’s music too crude, too clearly illustrative. Yet in spite of the largely unfair criticism they directed toward one another, each one never let his counterpart entirely out of his sight, or, to be more exact, of his ears. Ever since the 1920s their music
was featured on joint recital programmes.
The young Shostakovich acknowledged Prokofiev’s influence on certain of his own works. Prokofiev, when abroad, encouraged “chemical exchange between Russia and Europe” and promoted Shostakovich’s works in particular, even expressing the wish that his younger colleague be allowed to perform abroad, too. But that was not to be.
From the late 1930s to the early 1950s, their paths went on crossing in the territory of the totalitarian Soviet Union. Ever since then, the Prokofiev-Shostakovich dichotomy, an undeclared competition, has never ceased. (From the booklet lines notes by Tatjana Frumkis).
**** Hidden Message *****
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