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艺术家：吉勒·贝伊
作品名称：约翰·塞巴斯蒂安·巴赫《哥德堡变奏曲》，作品编号BWV 988
发行年份：2020年
厂牌：丰尼唱片（fonè Records）
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 88.2千赫兹 + 小册子
总时长：00:47:25
总大小：263兆字节 / 1.25吉字节
网站：专辑预览
曲目列表
01. 咏叹调
02. 变奏曲1
03. 变奏曲2
04. 变奏曲3 同度卡农
05. 变奏曲4
06. 变奏曲5
07. 变奏曲6 二度卡农
08. 变奏曲7 吉格舞曲速度
09. 变奏曲8
10. 变奏曲9 三度卡农
11. 变奏曲10 小赋格曲
12. 变奏曲11
13. 变奏曲12 四度卡农
14. 变奏曲13
15. 变奏曲14
16. 变奏曲15 五度卡农（反向进行） 行板
17. 变奏曲16 序曲
18. 变奏曲17
19. 变奏曲18 六度卡农
20. 变奏曲19
21. 变奏曲20
22. 变奏曲21 七度卡农（G小调）
23. 变奏曲22 二二拍子
24. 变奏曲23
25. 变奏曲24 八度卡农
26. 变奏曲25 柔板（G小调）
27. 变奏曲26
28. 变奏曲27 九度卡农
29. 变奏曲28
30. 变奏曲29
31. 变奏曲30 混合曲
32. 终曲咏叹调
吉勒·贝伊是一位国际知名的古典钢琴家，她在丰尼唱片发行的首张专辑开启了她的录音生涯。她自幼天赋异禀，斩获了众多奖项，并在许多国际舞台上演出。她是贝森朵夫钢琴艺术家。
她的首张专辑，即巴赫的《哥德堡变奏曲》，绝对是一部杰作。这张专辑于2019年11月在意大利米兰的艾尔梅利诺大厅——音乐之家录制。为了这次意义非凡的录制，丰尼唱片的朱利奥·切萨雷·里奇使用了他那传奇的原装纽曼U47和U48电子管麦克风。采用立体声DSD 64格式录制，使用了Merging Technologies公司的Pyramix录音机，搭配dCS的模数和数模转换器。这是一套最先进的录音系统，录制过程中没有进行任何声音处理、均衡调节、混响添加、压缩或扩展。只有自然的声音和真实的音色，以最大程度地提升艾尔梅利诺大厅的声学效果。这张专辑由朱利奥·切萨雷·里奇使用西诺里奇系统进行了母带处理。
这次录制的成果堪称奇妙。通过这次录制，朱利奥·切萨雷·里奇希望让听众获得一种独特的体验。就仿佛听众正坐在一把放置在艾尔梅利诺大厅理想位置的扶手椅上。声音具有临场感，其深度、宽度和高度都非常值得赞赏。动态效果极佳，同时精准度也很高——这是一张不容错过的专辑。
我们所听过的费鲁乔·布索尼弹奏的巴赫作品是正统的吗？格伦·古尔德弹奏的呢？约尔格·德穆斯的呢？还有安吉拉·休伊特坐在键盘前演奏时让我们陶醉的音乐呢？必须承认，这个由来已久的争议，或者更确切地说，三百年前由决斗者吉安·朱塞佩·奥尔西和多米尼克·布乌尔掀起的“古今之争”的最新修复，已经让所有那些仍然想要“正确思考”的人（用上述伯爵和耶稣会牧师的话来说，他们在礼仪性的鞠躬中相互攻击）厌烦至极。当然：我们要公平公正，该归功于谁就归功于谁。每一位真正的音乐家迟早都必须面对一个共同的问题。问题是：“在演奏古代音乐时，总是且无论如何都使用古代乐器，也就是与所演奏的音乐及其作曲家同时代的乐器（或者，在完全没有古代乐器的情况下，使用以类似方式制作的现代乐器），这是一个值得关注的现象吗？”这是一个高尚的问题，每一位兼具思想者身份的音乐家都必须考虑这个问题。
Artist: Gile Bae
Title: J. S. Bach Golberg Variations BWV 988
Year Of Release: 2020
Label: fonè Records
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
Total Time: 00:47:25
Total Size: 263 mb / 1.25 gb
WebSite: Album Preview
Tracklist
01. Aria
02. Variation 1
03. Variation 2
04. Variation 3 canone all’unisono
05. Variation 4
06. Variation 5
07. Variation 6 canone alla seconda
08. Variation 7 al tempo di giga
09. Variation 8
10. Variation 9 canone alla terza
11. Variation 10 fughetta
12. Variation 11
13. Variation 12 canone alla quarta
14. Variation 13
15. Variation 14
16. Variation 15 canone alla quinta in moto contrario Andante
17. Variation 16 ouverture
18. Variation 17
19. Variation 18 canone alla sesta
20. Variation 19
21. Variation 20
22. Variation 21 canone alla settima (G minor)
23. Variation 22 alla breve
24. Variation 23
25. Variation 24 canone all’ottava
26. Variation 25 adagio (G minor)
27. Variation 26
28. Variation 27 canone alla nona
29. Variation 28
30. Variation 29
31. Variation 30 quodlibet
32. Aria finale
Gile Bae, an internationally acclaimed classical pianist, begins her recording career with her first album on Fonè Records. Gifted from an early age, she has won numerous awards and performs on many international stages. She is a Bösendorfer Artist.
Bach’s Goldberg Variations, her first album, is an absolute masterpiece. The album was recorded in the Sala dell’ Ermellino – Casa della Musica in Milano, Italy in November 2019. For this prestigious recording, Fone’s Giulio Cesare Ricci used his legendary original Neumann U47 and U48 tube microphones. Recorded in Stereo DSD 64 with the Pyramix Recorder from Merging Technologies using the dCS A/D and D/A converters. This is a state-of-the-art recording system used without any sound manipulation, equalization, reverberation, compression, or expansion. Simply natural sound with true timbre to best enhance the acoustics of the Sala dell ‘Ermellino. The album has been mastered Giulio Cesare Ricci using the Signoricci system.
The result of this recording is fantastic. With this recording, Giulio Cesare Ricci wanted to make the listener live a unique experience. It is as if the listener was sitting on an armchair positioned in the ideal point of the Sala dell ‘Ermellino. The sound has a field effect, and its depth, width, and height are very appreciable. Great dynamics but also great precision – It’s an album not to be missed.
Is the Bach we have heard Ferruccio Busoni play on his piano legitimate? What about Glenn Gould? Or Jörg Demus? And the music that carries us away when Angela Hewitt is at the keyboard? Let’s admit it, the age-old controversy, or better, the recent reparation of the “querelle des anciens et des modernes” which was stirred up three centuries ago by the duelers Gian Giuseppe Orsi and Dominique Bouhours, has wearied to death all those who still want to “bien penser” (in the words of the above-mentioned count and the Jesuit priest, as they mauled each other with ceremonial bows). Of course: let’s be fair, credit where credit is due. Sooner or later, every true musician must deal with a collective problem. The question is: “When playing ancient music, is it a noteworthy phenomenon to always and regardless use ancient instruments, i.e. instruments which are contemporaries of the music being performed and its composer (or, in the case of a total dearth of ancient instruments, modern ones constructed in a similar manner)?” It is a noble problem and every musician who is also a thinker must take it into consideration.
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发表于 2025-5-10 07:53:51