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艺术家：莎伦·贝扎利
标题：莎伦·贝扎利 跨越比利牛斯山：长笛协奏曲
发行年份：2006年
厂牌：BIS
流派：古典
音质：24位-44.1kHz FLAC/分轨FLAC
总时长：56分50秒
总大小：537兆字节/254兆字节
网站：专辑预览
曲目列表
华金·罗德里戈
1. 田园协奏曲，长笛与管弦乐团：
1. 第一乐章：快板 7分33秒
2. 第二乐章：柔板 11分21秒
3. 第三乐章：回旋曲，快板 6分18秒
弗朗索瓦·博尔内
4. 辉煌幻想曲（基于比才《卡门》主题），长笛与钢琴（或管弦乐团） 11分09秒
雅克·伊贝尔
长笛与管弦乐团协奏曲
5. 第一乐章：快板 4分30秒
6. 第二乐章：行板 6分34秒
7. 第三乐章：诙谐的快板 7分59秒
演奏者
莎伦·贝扎利，长笛
圣保罗州交响乐团
指挥：约翰·内斯克林
以色列出生的长笛演奏家莎伦·贝扎利现居瑞典，这张专辑由她与一支巴西乐团及指挥（阿诺德·勋伯格的侄孙）合作录制。曲目也充满国际风情，趣味盎然的 liner notes（唱片内页文字）讲述了法西音乐交流的简短历史。例如，《卡门》原著作者普罗斯佩·梅里美曾写道："比利牛斯山的另一侧便是非洲"，令人饶有兴味。但真正的亮点在于贝扎利——她是如今已不多见的演奏大师。其循环呼吸技巧使长笛音色几乎连绵不绝，既有惊人的速度，又具备（尽管用于长笛听来矛盾）力量感。
最精彩的部分留到了最后：雅克·伊贝尔1934年的《长笛协奏曲》中，棱角分明的首尾乐章让贝扎利得以展现绝技，长笛线条在管弦乐织体中不断回旋。试听第七轨末乐章开头，长笛需以一连串音符回应块状和弦，而贝扎利一进入旋律，便立刻抓住听众的全部注意力。协奏曲的调式中心乐章优美动人，贝扎利的演绎既彰显了她在抒情旋律中的魅力，也展现了面对激烈段落时的驾驭力。
曲目编排颇具层次感：华金·罗德里戈1978年的《田园协奏曲》虽为长笛量身定制，但旋律灵感稍显不足。中间乐章开篇似《阿兰胡埃斯协奏曲》般动人，却逐渐沦为长笛与乐团间平庸的呼应。不过，弗朗索瓦·博尔内几乎无人知晓的《卡门主题辉煌幻想曲》令人眼前一亮——在众多基于歌剧主题的炫技作品中，这部作品别具巧思。贝扎利对"哈巴涅拉舞曲"的演绎如流水般柔美，营造出魅惑的氛围，堪称精妙。
约翰·内斯克林指挥的圣保罗交响乐团提供了优雅而灵活的伴奏，与首尾两部协奏曲的新古典主义风格高度契合。对于任何想知道谁能接过朗帕尔与高尔韦衣钵的人来说，这张专辑都值得一听。
Artist: Sharon Bezaly
Title: Bridge across the Pyrenees: Flute Concertos
Year Of Release: 2006
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks)
Total Time: 56:50
Total Size: 537 Mb / 254 Mb
WebSite: Album Preview
Tracklist:
Joaquin Rodrigo
1. Concierto pastoral, for flute & orchestra:
1. I. Allegro 7'33
2. II. Adagio 11'21
3. III. Rondo. Allegro 6'18
François Borne
4. Fantaisie brillante (on themes from Bizet's Carmen), for flute & piano (or orchestra) 11'09
Jacques Ibert
Concerto for Flute and Orchestra
5. I. Allegro 4'30
6. II. Andante 6'34
7. III. Allegro scherzando 7'59
Performers:
Sharon Bezaly, flute
Orquestra Sinfónica do Estado de São Paulo
São Paulo Symphony Orchestra
Conductor: John Neschling
Israeli-born flutist Sharon Bezaly now lives in Sweden, where this recording was made with a Brazilian orchestra and conductor (a grand-nephew of Arnold Schoenberg). The program is international as well, with entertaining liner notes presenting an instructive short history of the musical relationship between France and Spain. It is intriguing to learn, for instance, that Prosper Mérimée, the original author of the Carmen tale, once wrote that "Africa begins on the other side of the Pyrenees." But the real attraction here is Bezaly, a virtuosa of the kind that's not much made anymore. Her circular-breathing techniques seem to make the flute sound almost continuously, and she has both tremendous speed and, paradoxical as the word may sound when applied to a flute, power. The best is saved for last: Jacques Ibert's Flute Concerto of 1934 has sharp outer movements that allow Bezaly to show her best stuff, with flute lines that constantly whirl around the orchestral texture. Sample the beginning of the final movement, track seven, where the flutist has to answer block chords with a flurry of notes; by the time Bezaly gets into her lines, your attention is riveted on her. The concerto's modal central movement is lovely, and Bezaly's performance shows her to be as charismatic in cantabile lines as in furious passagework. The program definitely ramps up; the opening Concierto Pastorale of Joaquín Rodrigo, from 1978, is idiomatically written for the flute but is lacking in melodic inspiration. The middle movement starts out in the vein of the Concierto de Aranjuez but devolves into exchanges of banal calls between flute and orchestra. But things pick up with the almost unknown Fantaisie brillante sur des airs de Carmen of François Borne, an unusually thoughtful entry in the long line of virtuoso works based on operatic tunes; Bezaly's performance of the "Habanera," made into a sinuous, seductive piece of atmosphere, is exquisite. The São Paulo Symphony Orchestra under John Neschling offers elegant, flexible support well attuned to the essentially neo-Classic language of the two outer concertos on the program. The disc as a whole is well worth hearing for anyone wondering who's going to fill the shoes of the Rampals and the Galways.
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