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艺术家：斯特凡诺·布鲁尼、乔瓦尼·巴蒂斯塔·斯卡帕、保拉·塔拉米尼
专辑名：萨尔德利：《六首三重奏鸣曲》
发行年份：2019年
厂牌：辉煌古典
流派：古典
音质：FLAC无损格式 / FLAC 24比特 - 44.1千赫兹 + 小册子
总时长：1小时06分10秒
总大小：375兆字节 / 706兆字节
网站：专辑预览
曲目单
01. 《降B大调第一奏鸣曲》：第一乐章 快板
02. 《降B大调第一奏鸣曲》：第二乐章 小广板
03. 《降B大调第一奏鸣曲》：第三乐章 很快的快板
04. 《D小调第二奏鸣曲》：第一乐章 广板
05. 《D小调第二奏鸣曲》：第二乐章 快板
06. 《D小调第二奏鸣曲》：第三乐章 行板
07. 《D小调第二奏鸣曲》：第四乐章 很快的快板
08. 《E大调第三奏鸣曲》：第一乐章 适中速度的快板
09. 《E大调第三奏鸣曲》：第二乐章 柔板
10. 《E大调第三奏鸣曲》：第三乐章 有精神的快板
11. 《A小调第四奏鸣曲》：第一乐章 行板
12. 《A小调第四奏鸣曲》：第二乐章 快板
13. 《A小调第四奏鸣曲》：第三乐章 行板
14. 《A小调第四奏鸣曲》：第四乐章 快板
15. 《C大调第五奏鸣曲》：第一乐章 行板
16. 《C大调第五奏鸣曲》：第二乐章 快板
17. 《C大调第五奏鸣曲》：第三乐章 宽广且如歌的广板
18. 《C大调第五奏鸣曲》：第四乐章 快板
19. 《G大调第六奏鸣曲》：第一乐章 快板
20. 《G大调第六奏鸣曲》：第二乐章 广板
21. 《G大调第六奏鸣曲》：第三乐章 快板
费德里科·玛丽亚·萨尔德利 “鲜活的巴洛克” 风格音乐在辉煌古典厂牌下已有大量的记录，包括协奏曲专辑（BC94749）、康塔塔专辑（BC95068）和羽管键琴音乐专辑（BC95488），这些专辑提升了这位现代作曲家兼学者的声誉，并赢得了国际关注，《法国音乐杂志》等媒体给予了五星好评。
如今，萨尔德利将他的想象力投向了三重奏鸣曲这一在巴洛克时代代表室内乐创作的体裁。这里呈现的六首奏鸣曲分为两个子类型，即教堂奏鸣曲（第2、4、5首）和室内奏鸣曲（第1、3、6首），后者本应是在贵族家庭的环境中演奏的。萨尔德利巧妙而隐晦地暗示了深刻的忧郁情绪（如第一奏鸣曲的小广板）、地狱般的节奏冲动（第五奏鸣曲的第二乐章）、对死亡更深刻的沉思（比如第三奏鸣曲无低音的柔板），甚至还有爱的宣言（第六奏鸣曲的开头）——不过萨尔德利钟爱的对象无疑是维瓦尔第本人。
据作曲家本人所说，这并非巴洛克风格的模仿之作。相反，作为一位著名的维瓦尔第研究学者，他试图以当代音乐的形式，按照自己的理解去重新创作这类音乐，使音乐 “重拾其原本的语言，遵循其原有的标准，表达出与自身特质相符的充满活力的新思想” 。人们很可能会以为这里的三重奏鸣曲是17世纪威尼斯时期用鹅毛笔写成的，但它们绝不是枯燥的模仿练习。实际上，这些作品充满了威尼斯风格的真实活力与色彩，闪耀着各种巧妙的光辉，体现了这座城市的独特气质。
此次演奏的音乐家们长期以来一直与萨尔德利在他的 “古乐模式” 乐团中合作，该乐团录制的 “真正的” 维瓦尔第作品以及萨尔德利的作品都广受赞誉。
继他的器乐作品（《法国音乐杂志》给予五星好评）和宗教音乐作品取得成功之后，这张新专辑呈现了《六首三重奏鸣曲》，即由两把小提琴、一把大提琴以及由大提琴和管风琴组成的通奏低音演奏的三重奏鸣曲，由当代作曲家兼指挥家费德里科·玛丽亚·萨尔德利以巴洛克风格创作。
萨尔德利是巴洛克音乐领域最杰出的指挥家之一，他与 “古乐模式” 乐团的开创性演出在国际媒体上获得了高度评价。作为一名作曲家，他受到了伟大的巴洛克音乐大师们，尤其是维瓦尔第的启发，他这种风格的作品仿佛是18世纪在威尼斯用鹅毛笔写成的。他的作品并非基于当时的规则所做的枯燥练习，而是充满活力、生机勃勃，洋溢着能量、激情与光辉。
Artist: Stefano Bruni, Giovanni Battista Scarpa, Paola Talamini
Title: Sardelli: 6 Sonate a Tre
Year Of Release: 2019
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 01:06:10
Total Size: 375 / 706 mb
WebSite: Album Preview
Tracklist
01. Sonata I in B-Flat Major: I. Allegro
02. Sonata I in B-Flat Major: II. Larghetto
03. Sonata I in B-Flat Major: III. Allegro molto
04. Sonata II in D Minor: I. Largo
05. Sonata II in D Minor: II. Allegro
06. Sonata II in D Minor: III. Andante
07. Sonata II in D Minor: IV. Allegro molto
08. Sonata III in E Major: I. Allegro ma d'un mezzo tempo
09. Sonata III in E Major: II. Adagio
10. Sonata III in E Major: III. Allegro e spiritoso
11. Sonata IV in A Minor: I. Andante
12. Sonata IV in A Minor: II. Allegro
13. Sonata IV in A Minor: III. Andante
14. Sonata IV in A Minor: IV. Allegro
15. Sonata V in C Major: I. Andante
16. Sonata V in C Major: II. Allegro
17. Sonata V in C Major: III. Largo e cantabile
18. Sonata V in C Major: IV. Allegro
19. Sonata VI in G Major: I. Allegro
20. Sonata VI in G Major: II. Largo
21. Sonata VI in G Major: III. Allegro
The ‘living Baroque’ idiom of Federico Maria Sardelli has been extensively documented on Brilliant Classics, with albums of concertos (BC94749), cantatas (BC95068) and harpsichord music (BC95488) that have advanced the reputation of this modern composer and scholar and won international attention, with 5-star reviews in Diapason and elsewhere.
Now Sardelli turns his imagination to the genre of the trio sonata that exemplified chamber music-making in the Baroque era. The collection of six presented here divides into two sub-genres, of the church sonatas (Nos. 2, 4, 5) and chamber sonata (Nos. 1, 3, 6) which would have been heard in a domestic, albeit aristocratically appointed, context. Sardelli makes passing and subtle allusions to poignant melancholy (in the Larghetto of the First Sonata), to an infernalrhythmic impulse (the second movement of the Fifth), to more profound meditations on mortality (such as the Adagio without bass of the Third), and even to declarations of love (the opening of the Sixth) – though the subject of Sardelli’s affection is surely Vivaldi himself.
According to the composer, this is not Baroque pastiche. Rather, as a noted scholar of Vivaldi, he seeks to recreate such music in his own image with music of the present which ‘regains its own original language and adheres to its own original criteria, expressing vibrant new ideas that are in keeping with its identity.’ It would be quite possible to think that the trio sonatas here had been written with a goose quill in 17th-century Venice, but they are by no means dry exercises in imitation. Rather they are full of an authentically Venetian vibrancy and colour from any age, sparkling with a variety of knowing brilliance that belongs to the temperamental character of the city.
The performances here are given by musicians who have long worked with Sardelli in his Modo Antiquo ensemble which has made highly praised recordings of ‘real’ Vivaldi as well as Sardelli.
Following on the success of his instrumental music (5 star in Diapason) and Sacred Music this new recording presents “Sonate a tre”, Trio Sonatas for two violins, cello and a continuo of cello and organ, composed in Baroques style by present day composer and conductor Federico Maria Sardelli.
Sardelli is one of the foremost conductors of Baroque music, his pioneering performances with his group Modo Antiquo have received glowing reviews in the international press. As a composer he has been inspired by the great Baroque masters, notably Vivaldi, and his compositions in this style seem to have been penned with a goose quill in 18th century Venice. His works are no dry exercises on the basis of the rules of the day, but are vibrant, alive, bursting with energy, passion and brilliance.
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发表于 2025-4-30 08:21:16