15-奥斯陆弦乐四重奏乐团 - 《重温格里格》2010年 Hi-Res 24B - 96.0kHz
艺术家：奥斯陆弦乐四重奏乐团
作品名称：《重温格里格》
发行年份：2010年
厂牌：法布拉唱片公司（Fabra）
音乐类型：古典音乐
音质：FLAC 24比特 - 96.0千赫兹 + 小册子
总时长：01:13:46
总大小：1.34吉字节
网站：专辑预览
曲目列表
01. 《叙事曲》，作品24号
02. 《贝格约特》，作品42号
03. F大调第二弦乐四重奏，作品编号Eg 117 [完整版] 第一乐章. 绵延地
04. F大调第二弦乐四重奏，作品编号Eg 117 [完整版] 第二乐章. 柔板
05. F大调第二弦乐四重奏，作品编号Eg 117 [完整版] 第三乐章. 诙谐的快板
06. F大调第二弦乐四重奏，作品编号Eg 117 [完整版] 第四乐章. 终曲
自1991年成立以来，奥斯陆弦乐四重奏乐团的演奏曲目涵盖了贝多芬的所有四重奏作品，以及大量其他古典、浪漫主义和当代作品，这无疑使他们在国内外众多音乐会上有足够的音乐作品可供演奏。尽管如此，乐团还是养成了拓展音乐视野的习惯，将几乎所有能想象到的音乐类型都进行了改编，其中包括古典音乐、歌剧、流行音乐、爵士乐、萨尔萨舞曲、桑巴舞曲、电影音乐等等。因此，在2007年纪念爱德华·格里格逝世之际，乐团决定大胆地为这位挪威国宝级作曲家相对较少的弦乐四重奏作品增添新的内容。当然，从乐团成立之初，格里格的G小调四重奏就一直是他们的演奏曲目，未完成的F大调四重奏中已有的两个乐章也是如此。问题在于，在格里格的其他作品中，他们可以 “借用” 哪些作品来满足自己的需求。很快，他们就想到了情节剧《贝格约特》，这在很大程度上是因为这给了他们与著名演员莉斯·菲耶尔德斯塔德合作的机会。同样，G小调的伟大《叙事曲》也是一个显而易见的选择，尽管这对编曲者和演奏者来说都极具挑战性，而且还可能会激怒一些墨守成规的钢琴家。但作为乐团自封的编曲者，我大胆地接受了这个挑战。然而，我发现完成格里格未完成的F大调四重奏既令人兴奋又让人胆怯，因为我深知模仿另一位作曲家（尽管这位作曲家的音乐几乎流淌在每个挪威人的血脉中）绝非易事。很快我就明白，主要的挑战在于从格里格自己认为缺乏灵感而实际上已放弃的主题中创作出富有灵感的音乐。尤其是最后一个乐章，需要一些相当新颖的想法来补充仅有的几个现存小节。最终，我主要从该四重奏的其他部分以及格里格的其他作品中汲取灵感，以营造出一种真实感和连贯性。我这样做时问心无愧，因为我知道格里格自己也常常大量借鉴他自己的音乐。回想起来，我真的很享受参与这个有点疯狂的项目，但我也很庆幸随着这张专辑的发行，我的工作终于告一段落；否则，我可能会一直不断地修改完善下去。不过，对于奥斯陆弦乐四重奏乐团来说，这仅仅是重温格里格音乐之旅的开始。（奥伊斯坦·松斯塔德，2010年5月）
Artist: Oslo String Quartet
Title: Grieg Revisited
Year Of Release: 2010
Label: Fabra
Genre: Classical
Quality: flac 24bits - 96.0kHz +Booklet
Total Time: 01:13:46
Total Size: 1.34 gb
WebSite: Album Preview
Tracklist
01. Ballade, Opus 24
02. Bergljot, opus 42
03. String Quartet No. 2 In F-Major Eg 117 I. Sostenuto
04. String Quartet No. 2 In F-Major Eg 117 Il. Adagio
05. String Quartet No. 2 In F-Major Eg 117 Ill. Allegro Scherzando
06. String Quartet No. 2 In F-Major Eg 117 IV. Finale
With a repertoire consisting of all the Beethoven quartets and a vast number of other classical, romantic and contemporary works, the Oslo String Quartet has certainly not lacked music to perform at our many concerts at home and abroad since the start in 1991. Nevertheless, we have made it a habit to broaden our musical horizons by having music arranged from virtually every genre imaginable, including classical, opera, pop, jazz, salsa, samba, film music, etc. So when Edvard Grieg’s death was commemorated in 2007 we decided it was time to presumptuously add to our national composer’s rather small oeuvre for string quartet. Of course his G minor Quartet had been with us since we started, as had the two existing movements from the unfinished quartet in F major. The question was which among Grieg’s other works we could ‘steal’ for our own greedy purposes. The melodrama Bergljot soon sprang to mind, not least because it gave us the opportunity to collaborate with celebrated actor Lise Fjeldstad. Likewise, the great Ballade in G minor was an obvious choice, although it would be very demanding for both the arranger and the performers, as well as having the potential to enrage a few dogmatic pianists along the way. But as the selfappointed arranger of our group I boldly accepted the challenge. However, I found the prospect of completing Grieg’s unfinished quartet in F major both thrilling and terrifying, as I entertained a strong suspicion that imitating another composer (albeit a composer whose music virtually flows through the veins of every Norwegian) is no mean task. It soon became clear that the main challenge was to create inspired music from themes that Grieg himself had effectively discarded as uninspiring. The last movement, especially, needed some quite fresh ideas to complement the few existing bars. Eventually, I derived those ideas mainly from the rest of the quartet as well as from other works by Grieg in order to create a feeling of authenticity and coherence. I did this with a clear conscience, knowing that Grieg himself often borrowed heavily from his own music. In retrospect, I really enjoyed working on this somewhat crazy project, yet I am thankful that my contribution has finally come to an end through this present release; otherwise I would have been working and reworking it forever. For the Oslo String Quartet, however, it is just the beginning of a Grieg revisit. (Øystein Sonstad, May 2010)
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