03-《奇马罗萨：21首管风琴奏鸣曲》 Hi-Res
艺术家：安德里亚·切齐
专辑名称：《奇马罗萨：21首管风琴奏鸣曲》
发行年份：2019年
厂牌：辉煌古典
音乐类型：古典音乐
音质：FLAC格式（分轨）/24位-88.2千赫兹FLAC格式（分轨+小册子）
总时长：60分23秒
总大小：269兆字节 / 1.05吉字节
网站：专辑预览
曲目列表：
1. C大调管风琴奏鸣曲 - 快板，C54，F54（4分03秒）
2. a小调管风琴奏鸣曲 - 广板，C55，F55（4分22秒）
3. C大调管风琴奏鸣曲 - 快板，C50，F50（2分55秒）
4. g小调管风琴奏鸣曲 - 小行板，C33，F33（1分41秒）
5. G大调管风琴奏鸣曲 - 快板，C32，F32（2分30秒）
6. d小调管风琴奏鸣曲 - 稍快的行板，C79，F79（3分13秒）
7. D大调管风琴奏鸣曲 - 小快板，C30，F30（3分33秒）
8. A大调管风琴奏鸣曲 - 快板，C19，F19（2分43秒）
9. a小调管风琴奏鸣曲 - 优雅的小行板，C58，F58（1分48秒）
10. A大调管风琴奏鸣曲 - 快板，C21，F21（1分37秒）
11. d小调管风琴奏鸣曲 - 小行板，C42，F42（1分15秒）
12. F大调管风琴奏鸣曲 - 快板，C51，F51（3分20秒）
13. 降B小调/大调管风琴奏鸣曲 - 小行板，很快的快板，C70，F70（3分23秒）
14. g小调管风琴奏鸣曲 - 广板，C61，F61（3分06秒）
15. 降B大调管风琴奏鸣曲 - 快板，C1，F1（3分36秒）
16. g小调管风琴奏鸣曲 - 小行板，C52，F52（3分54秒）
17. G大调管风琴奏鸣曲 - 快板，C53，F53（3分12秒）
18. c小调管风琴奏鸣曲 - 小广板，C49，F49（2分26秒）
19. c小调管风琴奏鸣曲 - 快板，C28，F28（3分28秒）
20. 降E大调管风琴奏鸣曲 - 小行板，C37，F37（2分15秒）
21. c小调管风琴奏鸣曲 - 快板，C68，F68（2分13秒）
辉煌古典已出版多梅尼科·奇马罗萨全部88首键盘奏鸣曲的羽管键琴版本（BC95027），以及30首吉他改编版专辑（BC94172）。尽管他作为喜歌剧作曲家更闻名（如杰作《秘密婚姻》），这张管风琴奏鸣曲专辑仍展现了其音乐语言的多样性与适配性，揭示了他在生前备受推崇的原因。
画家德拉克洛瓦认为奇马罗萨的音乐优于莫扎特，司汤达称自己宁愿被绞死也不愿被迫选择更偏爱两者中的哪一位，就连以挑剔著称的维也纳乐评人爱德华·汉斯lick也盛赞其惊人的创作流畅度、巧妙的作曲笔触与雅致的品味，歌德甚至亲自指导过他的多部歌剧演出。
或许奇马罗萨过于流畅的创作风格影响了他的身后声誉：从88首迷人的奏鸣曲中从何选起？安德里亚·切齐在专辑导言中解释，他遍历所有作品后挑选了21首尤其适合管风琴演奏的曲目，以快慢乐章交替排列，并进行了少量踏板叠加等边际调整。这些作品录制于意大利雷焦艾米利亚省布鲁涅托迪雷焦洛的圣母荆棘圣殿，使用了两架符合历史背景的管风琴：一架由安德烈亚·博斯基尼制作（1755年前），另一架由乔瓦尼·卡瓦莱蒂制作（1814年）。
安德里亚·切齐此前为辉煌古典录制的专辑广受好评，如巴尔达萨雷·加卢皮的作品1号羽管键琴奏鸣曲（BC95253）被《Fanfare》杂志评价为“切齐的演奏大胆而果断……这张专辑的音乐能激发想象，切齐的演绎优雅且富有风格，也证明加卢皮不止是一位出色的歌剧作曲家。”凭借这张充满活力的奏鸣曲专辑，奇马罗萨也理应获得同样的赞誉。
多梅尼科·奇马罗萨（1749-1801）是那不勒斯乐派最著名的作曲家之一，曾在欧洲多地（圣彼得堡、维也纳利奥波德皇帝宫廷）担任重要音乐职位，作为歌剧作曲家大获成功。其最著名的作品《秘密婚姻》为他带来全球声誉。他的键盘作品包括大量奏鸣曲，这些单乐章短作旋律迷人、妙趣横生。在这张新录音中，奏鸣曲以管风琴演奏——在乐器界限尚未明确划分的时代，这是常见的演绎方式。安德里亚·切齐使用两架历史乐器演奏：一架安德烈亚·博斯基尼管风琴（1755年前）和一架乔瓦尼·卡瓦莱蒂管风琴（1814年）。切齐此前已为辉煌古典成功录制加卢皮与C.P.E.巴赫的作品。
Artist: Andrea Chezzi
Title: Cimarosa: 21 Organ Sonatas
Year Of Release: 2019
Label: Brilliant Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-88.2kHz FLAC (tracks+booklet)
Total Time: 60:23
Total Size: 269 MB / 1.05 GB
WebSite: Album Preview
Tracklist:
1. Organ Sonata in C Major - Allegro, C54, F54 (4:03)
2. Organ Sonata in A Minor - Largo, C55, F55 (4:22)
3. Organ Sonata in C Major - Allegro, C50, F50 (2:55)
4. Organ Sonata in G Minor - Andantino, C33, F33 (1:41)
5. Organ Sonata in G Major - Allegro, C32, F32 (2:30)
6. Organ Sonata in D Minor - Andante con moto, C79, F79 (3:13)
7. Organ Sonata in D Major - Allegretto, C30, F30 (3:33)
8. Organ Sonata in A Major - Allegro, C19, F19 (2:43)
9. Organ Sonata in A Minor - Andantino grazioso, C58, F58 (1:48)
10. Organ Sonata in A Major - Allegro, C21, F21 (1:37)
11. Organ Sonata in D Minor - Andantino, C42, F42 (1:15)
12. Organ Sonata in F Major - Allegro, C51, F51 (3:20)
13. Organ Sonata in B-Flat Minor/Major - Andantino, allegro assai, C70, F70 (3:23)
14. Organ Sonata in G Minor - Largo, C61, F61 (3:06)
15. Organ Sonata in B-Flat Major - Allegro, C1, F1 (3:36)
16. Organ Sonata in G Minor - Andantino, C52, F52 (3:54)
17. Organ Sonata in G Major - Allegro, C53, F53 (3:12)
18. Organ Sonata in C Minor - Larghetto, C49, F49 (2:26)
19. Organ Sonata in C Minor - Allegro, C28, F28 (3:28)
20. Organ Sonata in E-Flat Major - Andantino, C37, F37 (2:15)
21. Organ Sonata in C Minor - Allegro, C68, F68 (2:13)
Brilliant Classics has already published all 88 of Domenico Cimarosa’s keyboard sonatas in their commonly encountered appearance as harpsichord pieces (BC95027), as well as an album of 30 sonatas in arrangements for guitar (BC94172). He may still be better known as a composer of comic opera, for masterpiece such as Il matrimonio segreto, but this new album of the sonatas in versions for organ celebrates the variety and adaptability of Cimarosa’s idiom and demonstrates why he was so lionized in his own time.
The painter Delacroix preferred Cimarosa’s music to Mozart’s. Stendhal wrote that he would rather be hanged than be forced to state which of the two he preferred. Even the notoriously partial Viennese critic Eduard Hanslick lavished praise on Cimarosa’s wonderful facility, inventive compositional strokes and refined taste, and Goethe, no less, directed several productions of his operas.
Perhaps Cimarosa’s sheer fluency has told against his posthumous reputation: where to begin with 88 attractive sonatas? In his own booklet introduction, Andrea Chezzi explains that he has reviewed all of them and chosen 21 which seem particularly suitable for performance on the organ. He has ordered them to alternate slow and fast pieces, made marginal adjustments such as a few pedal doublings, and recorded them here on a historically appropriate instrument by Andrea Boschini (before 1755) and Giovanni Cavalletti (1814), located in the Sanctuary of the Beata Vergine dello Spino, Brugneto di Reggiolo, in the Italian province of Reggio Emilia.
Andrea Chezzi’s previous recordings for Brilliant Classics have attracted glowing
reviews, such as the Op.1 harpsichord sonatas by Baldassare Galuppi (BC95253): ‘The performance by Chezzi is bold and decisive… It is a disc with music that can excite the imagination, performed with grace and style by Chezzi. It also shows that Galuppi is more than just a pretty operatic face.’ (Fanfare, July 2016) The same could justly be said of Cimarosa thanks to this new album of his evergreen sonatas.
Domenico Cimarosa (1749-1801) was one of the best known composers of the Neapolitan School. He held several important musical posts throughout Europe (St. Petersburg, The Emperor Leopold in Vienna) as a highly successful composer of operas. His best known work is the opera Il Matrimonio Segreto, which brought him universal fame.
Cimarosa’s output for keyboard consists of a great number of sonatas, short, one-movement works, charmingly melodious, witty and entertaining.
On this new recording the Sonatas are played on the organ, a common practice in a time when the distinction between instruments was not clearly defined yet.
Andrea Chezzi plays two historic instruments: a Andrea Boxchini (before 1755) and a Giovanni Cavalletti (1814).
Andrea Chezzi made two successful recordings for Brilliant Classics with works by Galuppi and C.P.E. Bach.
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