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艺术家：卡罗琳·维德曼与欧洲室内乐团
作品名称：费利克斯·门德尔松·巴托尔迪 / 罗伯特·舒曼（作品）
发行年份：2016年
厂牌：ECM新系列唱片公司
音乐类型：古典音乐
音质：24比特-96千赫兹 FLAC（分轨+小册子）
总时长：59分31秒
总大小：1.08吉字节
网站：专辑预览
曲目列表：
01. 第一首，十分热情的快板（12分46秒）
02. 第二首，行板 - 不过分的小快板（8分17秒）
03. 第三首，十分活泼的快板（6分10秒）
04. 第一首，以有力且不过快的速度（15分38秒）
05. 第二首，缓慢地（6分08秒）
06. 第三首，活泼地，但不快速（10分32秒）
罗伯特·舒曼直到晚年才找到了与小提琴相关的创作道路。他本是一名职业钢琴家，似乎他对小提琴姗姗来迟的兴趣对他自己为小提琴创作的作品的演奏和接受产生了持久的影响。他的《小提琴与管弦乐队幻想曲》，作品第131号，从未真正在保留曲目中占据一席之地；他的小提琴奏鸣曲的演出也相对较少；而他的《小提琴协奏曲》直到1937年才得以首演，当时由格奥尔格·库伦坎普夫演奏，卡尔·伯姆指挥柏林爱乐乐团，演奏的还是经过删改的版本。后一部作品可能还受到了伟大的约瑟夫·约阿希姆不公正评价的影响，约阿希姆称它 “薄弱”，并一直对其嗤之以鼻。
正如音乐史上经常出现的情况一样，一部作品的生命力只能由充满热忱的演奏者来证明。耶胡迪·梅纽因就是这样一位演奏者，他是第一个有力地将舒曼的协奏曲提升到古典浪漫主义经典作品行列的人：“这部协奏曲是小提琴文献中在历史上缺失的一环；它是贝多芬和勃拉姆斯小提琴协奏曲之间的桥梁，不过更偏向勃拉姆斯风格。” 门德尔松的e小调《小提琴协奏曲》在创作和接受方面没有遇到与舒曼的协奏曲相同的问题。相反，它是所有伟大的古典浪漫主义协奏曲中演奏次数最多的作品之一，这在很大程度上是因为它没有像在炫技型协奏曲中那样，将管弦乐队置于旁观者的角色。相反，它效仿贝多芬的做法，在独奏者和具有交响性功能而非伴奏角色的管弦乐队之间实现了平衡的戏剧结构。
如果我们留意梅纽因敏锐的评价以及这些作品的创作年代，那么将门德尔松的协奏曲与舒曼的协奏曲搭配在一起，似乎比更常见的门德尔松与布鲁赫的g小调协奏曲的搭配更有说服力。这就解释了为什么慕尼黑的小提琴家卡罗琳·维德曼现在选择了门德尔松和舒曼的协奏曲，与欧洲室内乐团一起为ECM新系列录制了这张新专辑。自2008年以来，她与ECM的合作已经推出了一些卓越的CD专辑，其中包括与钢琴家德内斯·瓦尔容合作录制的广受赞誉的舒曼小提琴奏鸣曲专辑，以及与亚历山大·隆基希合作录制的荣获多个奖项的舒伯特专辑。
但对古典浪漫主义音乐的专注只是这位多才多艺的艺术家音乐世界的一个方面，在她 “最喜欢的作曲家” 中，不仅有舒曼，还有莫顿·费尔德曼。她同样精通古代表演实践和先锋派技巧，并且对贝里奥、布列兹、费尔德曼（其《小提琴与管弦乐队》由ECM发行）以及埃尔基 - 斯文·图尔的高度复杂作品进行了令人信服的诠释，包括她与担任单簧管演奏的哥哥约尔格·维德曼以及由阿努·塔利指挥的北欧交响乐团合作演奏的图尔的《诺西埃——单簧管、小提琴与管弦乐队协奏曲》（同样由ECM发行）。
顺便说一句，对于是否应该通过演奏乔治·利盖蒂的音乐来更好地理解过去的音乐这一问题，布列兹给出了一个有趣的答案。布列兹说，至少人们会获得一种更好的演奏文化。他认为，任何掌握了利盖蒂的音响平衡和施托克豪森的节奏的人，在演奏古典浪漫主义曲目时会更有优势。卡罗琳·维德曼的演奏就证明了他的这一理论。
卡罗琳·维德曼，小提琴演奏者
欧洲室内乐团
Artist: Carolin Widmann & Chamber Orchestra of Europe
Title: Felix Mendelssohn Bartholdy / Robert Schumann
Year Of Release: 2016
Label: ECM New Series
Genre: Classical
Quality: 24bit-96kHz FLAC (tracks+booklet)
Total Time: 59:31
Total Size: 1.08 GB
WebSite: Album Preview
Tracklist:
01. 1. Allegro molto appassionato (12:46)
02. 2. Andante - Allegretto non troppo (8:17)
03. 3. Allegro molto vivace (6:10)
04. 1. In kräftigem, nicht zu schnellem Tempo (15:38)
05. 2. Langsam (6:08)
06. 3. Lebhaft, doch nicht schnell (10:32)
It was not until late in life that Robert Schumann found the path to the violin. A pianist by profession, it almost seems as if his belated interest in the violin had a lasting effect on the performance and reception of his own works for that instrument. His Fantasy for violin and orchestra, op. 131, has never truly found a place in the repertoire; performances of his violin sonatas are relatively rare; and the Violin Concerto had to wait until 1937 for its première, when it was played in a bowdlerized version by Georg Kulenkampff and the Berlin Philharmonic under Karl Böhm. The latter work probably suffered as well from the unjustified verdict of the great Joseph Joachim, who called it 'weak' and spurned it to the end of his days.
As so often in music history, the vitality of a work can only be proved by committed performers. One such performer was Yehudi Menuhin, the first to forcibly elevate the Schumann concerto into the classical-romantic pantheon: 'This concerto is the historically missing link of the violin literature; it is the bridge between the Beethoven and the Brahms concertos, though leaning more towards Brahms'. Mendelssohn's E-minor Violin Concerto did not face the same problems of genesis and reception as Schumann's. On the contrary: it is one of the most frequently performed of all the great classical-romantic concertos, not least because it refuses to consign the orchestra to a bystander role, as in the virtuoso concerto. Instead, it follows Beethoven's example by achieving a balanced dramatic structure between the soloist and an orchestra with symphonic functions rather than an accompaniment role.
If we pay heed to Menuhin's shrewd assessment and their dates of origin, the combination of Mendelssohn's concerto with Schumann's seems much more convincing than the more popular combination of Mendelssohn's and the Bruch G-minor. This explains why the Munich violinist Carolin Widmann has now chosen the Mendelssohn and Schumann concertos for her new recording with the Chamber Orchestra of Europe for ECM's New Series. Since 2008 her commitment to ECM has led to a number of remarkable CD releases, including a highly acclaimed recording of the Schumann violin sonatas with the pianist Dénes Várjon and a multiple prize-winning Schubert recording with Alexander Lonquich.
But a commitment to classical-romantic music is only one facet in the musical cosmos of this versatile artist, who numbers not only Schumann but Morton Feldman among her 'favourite composers'. She is equally au fait with period performance practice and avant- garde techniques and has presented convincing readings of highly-complex works by Berio and Boulez, Feldman's Violin and Orchestra (released on ECM) and Erkki-Sven Tüür, including his Noesie – Concerto for Clarinet, Violin and Orchestra with her brother Jörg Widmann on clarinet and the Nordic Symphony Orchestra conducted by Anu Tali (likewise on ECM).
Boulez, incidentally, gave an interesting answer to the question of whether one should play the music of György Ligeti to gain a better grasp of the music of the past. Boulez said that one would at least gain a better performance culture. Anyone who masters Ligeti's sonic balance and Stockhausen's rhythms will, he felt, be better equipped to play the classical- romantic repertoire. Carolin Widmann's performances stand as proof of his theory.
Carolin Widmann, violin
Chamber Orchestra of Europe
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发表于 2025-4-8 08:35:53