15-罗纳德·布劳蒂加姆 - 《莫扎特钢琴协奏曲第9号与第12号》（2010年）SACD-ISO
布劳蒂加姆 - 科隆学院乐团/维伦斯 - 莫扎特 - 第9号与第12号钢琴协奏曲 - BIS-SACD-1794（2010年）
通过PS3翻录的SACD转成ISO格式（2.72GB）| 24比特/88.2千赫兹FLAC格式，2声道（960MB），5声道（2.25GB）| 动态范围14
从乐曲开篇的几个小节就能明显感觉到，这套作品注定非凡。
使用古典时期乐器让乐团以一种独特的风格演奏，这种风格若是用现代乐器来演绎会显得怪诞，而在这里却充满活力。布劳蒂加姆的古钢琴在全奏段落中穿透织体，让听众感受到他的演奏符合当时的习惯，这种习惯在独奏部分的乐谱中有明显提示，但现代乐器演奏者很少（能让人听到）。
在莫扎特早期成熟风格的暗示中，热纳姆（若内奥姆）协奏曲第一乐章中，激昂的活力从扬声器中倾泻而出。对莫扎特的音乐来说幸运的是，布劳蒂加姆和维伦斯在小行板乐章中采用了流畅而不仓促的节奏。特别令人兴奋的是，布劳蒂加姆在主题材料重复时使用了装饰音，科隆学院乐团的演奏与之呼应。与一些演奏者不同，这种演奏即使反复聆听也不会让人感到厌倦。演奏充满音乐性，我们听到的是莫扎特灵感的创作。急板部分以极快的速度演奏，却不显得仓促，而是充满活力，这正是这些音乐大师所创造的神奇之处。
A大调协奏曲更加轻松明快，虽然没有早期协奏曲中那种生动的热情洋溢，但如果认为布劳蒂加姆选择的节奏不够流畅，那就错了。即兴装饰的同样特质为这华丽的旋律增添了美感，独奏者和乐团都采用了这种方式，从笔者脸上时常浮现的笑容来看，大多数听众肯定会喜欢！作为“返场曲目”，我们听到的是A大调回旋曲，作品K.386，与协奏曲不同的是，这首曲子的华彩乐段由布劳蒂加姆亲自演奏。他的音乐素养极高，看似即兴的演奏与我们之前听到的莫扎特风格一致。
从技术角度和乐器演奏角度来看，音效无可挑剔，每个细微之处都能清晰听到（部分归功于音乐家们的表现力），听觉场景的每个部分都融合成一个令人信服的整体。
总之，这张唱片让我们仿佛首次聆听这些著名作品，独奏者和乐团对古典时期乐器的使用极具说服力，很难再回到佩拉西亚、布伦德尔或其他现代钢琴与管弦乐团的演奏版本。
强烈推荐。
******************在此聆听：http://www.youtube.com/watch?v=SLHzeMBgS5o
钢琴协奏曲
降E大调第9号钢琴协奏曲，K 271 “热纳姆（若内奥姆）”；
A大调第12号钢琴协奏曲，K 414；
A大调回旋曲，K 386
罗纳德·布劳蒂加姆，古钢琴
科隆学院乐团 / 迈克尔·亚历山大·维伦斯
这张唱片是莫扎特钢琴协奏曲系列的首张，布劳蒂加姆使用的是一架1802年由瓦尔特父子公司制造的古钢琴，他与经验丰富的古典时期乐团科隆学院乐团合作，乐团由迈克尔·维伦斯指挥。节目中包括莫扎特早期的杰作之一“热纳姆（若内奥姆）”协奏曲（之前称为“若内奥姆”），创作于1777年，当时莫扎特还未从萨尔茨堡搬到维也纳。接下来是A大调第12号钢琴协奏曲，K 414，这是莫扎特在维也纳创作的早期协奏曲之一，以及同一时期的钢琴与管弦乐团的回旋曲。罗纳德·布劳蒂加姆演奏的贝多芬钢琴作品系列备受赞誉，他早期对莫扎特奏鸣曲和变奏曲的演绎同样受到好评，《留声机》杂志在该作品以盒装形式发行时的评论可见一斑：“布劳蒂加姆富有想象力的诠释捕捉到了莫扎特的多种情绪，从最早的六首奏鸣曲的华丽风格到A小调（K310）的动人戏剧性。”
罗纳德·布劳蒂加姆在古钢琴和现代钢琴演奏方面都取得了巨大成功。他在BIS唱片公司发行了近五十张唱片，其唱片目录可以证明这一点，其中包括用古钢琴演奏的莫扎特和海顿的钢琴独奏作品全集，以及最近发行的用现代施坦威钢琴演奏的贝多芬钢琴协奏曲全集的四张唱片。
曲目：
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foobar2000 1.1.11 / 动态范围测量工具1.1.1
记录日期：2012年5月6日21:41:50
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分析结果：布劳蒂加姆 - 科隆学院乐团/维伦斯 / 莫扎特 - 第9号与第12号钢琴协奏曲
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动态范围14-8.29分贝 -27.94分贝 9分11秒 01-第9号钢琴协奏曲：第一乐章，快板
动态范围14-9.69分贝 -30.19分贝 9分45秒 02-第二乐章，小行板
动态范围15-8.76分贝 -29.22分贝 9分06秒 03-第三乐章，回旋曲，急板
动态范围14-6.18分贝 -27.93分贝 9分00秒 04-第12号钢琴协奏曲：第一乐章，快板
动态范围14 -11.97分贝 -31.74分贝 7分10秒 05-第二乐章，行板
动态范围14-8.26分贝 -29.86分贝 5分59秒 06-第三乐章，回旋曲，小快板
动态范围16-6.36分贝 -28.95分贝 8分25秒 07-A大调回旋曲
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曲目数量： 7
官方动态范围值：动态范围14
采样率： 2822400赫兹 / PCM采样率：176400赫兹
声道数： 2
每样本比特数： 24
比特率： 5645千比特每秒
编码格式： DSD64
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ISO文件校验和：
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5声道FLAC曲目校验和：
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2声道FLAC曲目校验和：
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Brautigam - K鰈ner Akademie Willens - Mozart - Piano Concertos 9 & 12 - BIS-SACD-1794 (2010)
SACD rip via PS3 to iso (2.72GB) | 24bit/88.2kHz flac 2ch (960MB), 5ch (2.25GB) | DR14 |
From the opening bars, it is clear that this cycle is going to be something very special.
The use of period instruments allows the orchestra to attack (with style, not brutally) the music with a level of panache that would be grotesque on modern instruments - it comes across as vital here. Brautigam's forte-piano also penetrates the textures in the tutti passages to allow the listener that he is supporting the textures as would have been the habit of the day - suggested clearly in the score for the soloist but rarely (audibly) observed by those on modern instruments.
In Mozart's first hint of his mature genius to come in this combination, the effervescent energy leaps out of the speakers in the first movement of the Jenamy (Jeunehomme) concerto. Fortunately for Mozart's music, Brautigam and Willens adopt a flowing yet never rushing tempo for the Andantino. Particularly exciting is Brautigam's use of ornamental embellishments - mirrored by the superb Die Kolner Akademie - upon repetitions of thematic material; unlike some performers who indulge in this practice they never tire upon repeated hearings. The playing is so musical that the only voice we hear is that of Mozart's inspired creations. The rapid-fire Presto is played at a speed that is barely credible that it does not sound rushed but exuberant, yet that is the magic that these master musicians achieve here.
The A major concerto is a more relaxed and sunny affair, with less of the ebullient spirit so vividly conveyed in the earlier concerto but one would be mistaken to imagine that Brautigam's choice of tempos is any less flowing than ideal. The same qualities of improvisatory decoration add touches of beauty to an already gorgeous melodic outpouring - both soloist and orchestra are "guilty" of this approach, one which most listeners will surely find winning if the smile that almost constantly creeps across my face is anything to go by! As an "encore", we are offered the Rondo in A major, K.386 which, unlike in the concertos, has cadenzas provided by Brautigam himself. Such is his musicianship that his seemingly improvisatory approach is as Mozartean as that we have heard earlier.
The sound, from both a technical perspective and also from the instrumental standpoint, is beyond criticism - every nuance is heard without difficulty (partly thanks to the projection given by the musicians) and each part of the aural landscape sits within a convincing whole.
To sum up, this disc makes one hear these well known works as if for the first time - the use of period instruments by both soloist and orchestra is so persuasive it is hard to imagine returning to the accounts of Perahia, Brendel or other giants of the modern piano and orchestras.
Very highly recommended indeed.
******************listen here: http://www.youtube.com/watch?v=SLHzeMBgS5o
Piano Concertos
Piano Concerto No.9 in E flat major, K 271 慗enamy?[慗eunehomme抅;
Piano Concerto No.12 in A major, K 414;
Rondo in A major, K 386
Ronald Brautigam, fortepiano
Die K鰈ner Akademie / Michael Alexander Willens
The present disc is the first in a projected series of Mozart抯 piano concertos, for which Brautigam returns to the fortepiano ?a copy of an 1802 instrument by Walther & Sohn ?and is joined by the experienced period band Die K鰈ner Akademie conducted by Michael Willens. The programme includes one of Mozart抯 first early master-pieces, the 慗enamy?Concerto (previously known as 慗eunehomme? composed in 1777 before he had moved from Salzburg to Vienna. This is followed by Piano Concerto No.12 in A major, K 414, one of the first Vienna concertos, and a Rondo for piano and orchestra from the same period. Ronald Brautigam抯 ongoing series of Beethoven抯 music for piano solo has been met with great acclaim, but his earlier traversal of Mozart抯 sonatas and variation were equally well-received, as witness the following quote from a review in Gramophone upon the release of it as a boxed set: 態rautigam's imaginative interpretations capture Mozart's many moods, from the galant style of the six earliest sonatas to the aching drama of the A minor (K310).?
To a unique degree, Ronald Brautigam has managed to combine highly successful careers as a performer on both the fortepiano and the modern piano. With close to fifty released CDs on BIS, his discography testifies to this, including complete cycles on fortepiano of the solo piano music by Mozart and Haydn, but also four recent discs of the complete Beethoven piano concertos played on a modern Steinway.
Tracks:
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foobar2000 1.1.11 / Dynamic Range Meter 1.1.1
log date: 2012-05-06 21:41:50
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Analyzed: Brautigam - K鰈ner Akademie/Willens / Mozart - Piano Concertos 9 & 12
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DR Peak RMS Duration Track(iso @ 0dB gain)
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DR14-8.29 dB -27.94 dB 9:11 01-Piano Concerto No. 9: I. Allegro
DR14-9.69 dB -30.19 dB 9:45 02-II. Andantino
DR15-8.76 dB -29.22 dB 9:06 03-III. Rondeau. Presto
DR14-6.18 dB -27.93 dB 9:00 04-Piano Concerto No. 12: I. Allegro
DR14-11.97 dB -31.74 dB 7:10 05-II. Andante
DR14-8.26 dB -29.86 dB 5:59 06-III. Rondeau. Allegretto
DR16-6.36 dB -28.95 dB 8:25 07-Rondo in A major
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Number of tracks:7
Official DR value: DR14
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 24
Bitrate: 5645 kbps
Codec: DSD64
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Checksum for iso:
80d999e23be36b331c3e00fe6052ef04 *Brautigam - K鰈ner Akademie Willens - Mozart - Piano Concertos 9 & 12.iso
Checksums for 5ch flac tracks:
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3775deaa8b5dee2e48a16aa5e5344dc6 *Brautigam - Kolner Akademie Willens - Mozart - Piano Concertos 9 & 12.flac
Checksums for 2ch flac tracks:
fa2e24cf60fc5fe038caf74409398f71 *Brautigam - K鰈ner Akademie Willens - Mozart - Piano Concertos 9 & 12.cue
f66c4d6d00d899aa5b4597e0044e6c76 *Brautigam - Kolner Akademie Willens - Mozart - Piano Concertos 9 & 12.flac
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