03-巴赫：羽管键琴与维奥尔琴音乐 (2019) [Hi-Res]
艺术家：阿尔贝托·拉西（Alberto Rasi）
标题：巴赫：羽管键琴与维奥尔琴音乐
发行年份：2019年
厂牌：斯特拉迪瓦里（Stradivarius）
流派：古典
音质：flac无损格式 / 24位-96.0千赫兹 + 小册子
总时长：00:54:58
总大小：345兆字节 / 1.1千兆字节
网站：专辑预览
曲目列表
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01. D大调维奥尔琴奏鸣曲，BWV 1028：第一乐章 柔板
02. D大调维奥尔琴奏鸣曲，BWV 1028：第二乐章 快板
03. D大调维奥尔琴奏鸣曲，BWV 1028：第三乐章 行板
04. D大调维奥尔琴奏鸣曲，BWV 1028：第四乐章 快板
05. e小调二重奏，作品第802号
06. F大调二重奏，作品第803号
07. G大调维奥尔琴奏鸣曲，BWV 1027：第一乐章 柔板
08. G大调维奥尔琴奏鸣曲，BWV 1027：第二乐章 不过分的快板
09. G大调维奥尔琴奏鸣曲，BWV 1027：第三乐章 行板
10. G大调维奥尔琴奏鸣曲，BWV 1027：第四乐章 中板快板
11. a小调二重奏，作品第805号
12. G大调二重奏，作品第804号
13. g小调维奥尔琴奏鸣曲，BWV 1029：第一乐章 活泼的
14. g小调维奥尔琴奏鸣曲，BWV 1029：第二乐章 柔板
15. g小调维奥尔琴奏鸣曲，BWV 1029：第三乐章 快板
长期以来，音乐学界普遍认为约翰·塞巴斯蒂安·巴赫的室内乐作品主要创作于科滕时期（1717-1723年），但这一观点如今已被广泛重新审视。尽管具体创作日期仍不明确，但种种线索表明，他的许多为一/两件乐器与通奏低音或协奏羽管键琴而作的作品，实际应追溯至莱比锡时期（1723-1750年），尤其是1730-1740年这十年间。这组作品还包括三首维奥尔琴与“助奏”羽管键琴奏鸣曲：G大调BWV 1027、D大调BWV 1028和g小调BWV 1029——根据线索推断，它们的创作时间同样为1736-1741年。另一方面，巴赫在莱比锡托马斯学校的最后一批学生之一克里斯蒂安·弗里德里希·彭策尔（Christian Friedrich Penzel）于1753年对BWV 1028和1029奏鸣曲的遗稿抄本进行了复制，但目前尚无资料提及这一抄本的具体时间；不过从风格上分析，这两部作品应与BWV 1027奏鸣曲创作于同一时期。众所周知，这三首维奥尔琴奏鸣曲并不像六首大提琴组曲或小提琴独奏奏鸣曲与 partita 那样构成一个有机整体。但这些作品都具有羽管键琴“助奏”的特点，这一特点也可见于约1725年创作的六首《羽管键琴与小提琴独奏奏鸣曲》，以及与维奥尔琴奏鸣曲同期创作的三首长笛与羽管键琴奏鸣曲。在这张专辑中，帕特里齐亚·马里萨尔迪（Patrizia Marisaldi，羽管键琴）和阿尔贝托·拉西（Alberto Rasi，维奥尔琴）力求以符合历史本真的方式呈现这些音乐。
Artist: Alberto Rasi
Title: Bach: Music for Harpsichord & Viola da gamba
Year Of Release: 2019
Label: Stradivarius
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +booklet
Total Time: 00:54:58
Total Size: 345 mb / 1.1 gb
WebSite: Album Preview
Tracklist
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01. Viola da gamba Sonata in D Major, BWV 1028: I. Adagio
02. Viola da gamba Sonata in D Major, BWV 1028: II. Allegro
03. Viola da gamba Sonata in D Major, BWV 1028: III. Andante
04. Viola da gamba Sonata in D Major, BWV 1028: IV. Allegro
05. Duetto No. 1 in E Minor, BWV 802
06. Duetto No. 2 in F Major, BWV 803
07. Viola da gamba Sonata in G Major, BWV 1027: I. Adagio
08. Viola da gamba Sonata in G Major, BWV 1027: II. Allegro ma non tanto
09. Viola da gamba Sonata in G Major, BWV 1027: III. Andante
10. Viola da gamba Sonata in G Major, BWV 1027: IV. Allegro moderato
11. Duetto No. 4 in A Minor, BWV 805
12. Duetto No. 3 in G Major, BWV 804
13. Viola da gamba Sonata in G Minor, BWV 1029: I. Vivace
14. Viola da gamba Sonata in G Minor, BWV 1029: II. Adagio
15. Viola da gamba Sonata in G Minor, BWV 1029: III. Allegro
For some time now musicology has widely reviewed the previously long held belief that Johann Sebastian Bach’s chamber output originates mostly from his Köthen period (1717-1723). Although precise dates are still lacking, various clues have led many of his works for one/two instruments and basso continuo or concertante harpsichord to be moved forward to his Leipzig years (1723-1750) and in particular to the decade 1730-1740. This group of works also includes the three sonatas for viola da gamba and ‘obbligato’ harpsichord BWV 1027 in G major, BWV 1028 in D major and BWV 1029 in G minor, again assigned on the basis of clues to the period 1736-1741. On the other hand, no reference is available to date the posthumous copies of the Sonatas BWV 1028 and 1029 made in 1753 by Christian Friedrich Penzel, one of Bach’s last pupils at the Thomasschule in Leipzig; but stylistic considerations would lead both works to be assigned to the same years as the Sonata BWV 1027. As is known, the three sonatas for viola da gamba do not form an organic corpus like the six Suites for cello or the Sonate e Partite for solo violin. But the pieces in the group share the ‘obbligato’ role of harpsichord, also found in the six Sonate à cembalo certato e Violino solo, datable to around 1725, as well as in the three sonatas for flute and harpsichord, written in the same period as the sonatas for viola da gamba. On this release, Patrizia Marisaldi (harpsichord) and Alberto Rasi (viola da gamba) aim to present this music in a historically accurate manner.
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