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艺术家：莎伦·贝扎利、罗纳德·布劳蒂甘
标题：莎伦·贝扎利 长笛与钢琴杰作
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：63分03秒
总大小：574兆字节/257兆字节
网站：专辑预览
曲目列表
谢尔盖·普罗科菲耶夫（1891-1953）
[1]-[4] D大调奏鸣曲，作品94（1943年）
弗朗茨·舒伯特（1797-1828）
[5]-[13] 基于歌曲《枯萎的花朵》的E小调变奏曲，D 802（1824年）
亨利·迪蒂耶（生于1916年）
[14] 小奏鸣曲（1943年）
安德烈·若利韦（1905-1974）
[15] 《利诺斯之歌》（1944年）
演奏者：
莎伦·贝扎利，长笛
罗纳德·布劳蒂甘，钢琴
这张震撼人心的专辑充分证明，莎伦·贝扎利堪称当今世界首屈一指的长笛演奏家。唯一能与之竞争的是埃马纽埃尔·帕胡德（Emmanuel Pahud）——同样是一位杰出艺术家，但其唱片无论是在曲目编排的想象力上，还是在委约并录制优秀新作品的贡献上，均未能达到贝扎利的高度。在这方面，贝扎利无疑是独一无二的。尽管如此，这张专辑收录了长笛领域最受欢迎的一些室内乐作品——它们虽已被多次录制，但贝扎利与布劳蒂甘的组合无疑呈现了无可超越的演绎。
普罗科菲耶夫的《长笛奏鸣曲》另有小提琴与钢琴版本（即所谓《第二小提琴奏鸣曲》），但此处为原始编制，很难想象还有比这更令人耳目一新的二重奏。旋律均出自作曲家的巅峰创作时期，与同期（1943年）的《第五交响曲》《罗密欧与朱丽叶》芭蕾等作品一脉相承。贝扎利的独奏完美无瑕，音色丰润如清泉，气息控制惊人，音准精准如标尺。布劳蒂甘（在所有曲目中）是她的理想搭档：他的钢琴细节充满趣味，同时始终精准拿捏音色，与长笛形成平等对话的伙伴关系。尤其是终章，展现了录音史上最精妙的键盘与管乐协作，堪称该奏鸣曲的最佳演绎。
专辑中的其他三部作品同样达到了极高水准。舒伯特的《枯萎的花朵变奏曲》因贝扎利对颤音的情感化控制，呈现出非同寻常的悲伤深度。多处旋律令人不禁联想到贝多芬第七交响曲的小快板第二乐章，其情感浓度与美感毫不逊色，堪称一场华美而真挚的演出。迪蒂耶的《小奏鸣曲》流畅自然，音色与节奏对比鲜明。在若利韦充满异域风情的《利诺斯之歌》中，布劳蒂甘再次展现了卓越的技巧——既能清晰演奏密集音符，又能细腻把控节奏与力度。
至于贝扎利，她在迪蒂耶作品中的 brilliance（卓越表现）堪称理所当然，而在若利韦的作品中，她用长笛营造出堪称管乐史上最具魅力的十分钟。BIS的录音技术堪称顶尖，无论是立体声还是更富层次感的多声道环绕声都无可挑剔。不得不承认，我有时对长笛独奏会兴趣寥寥——这类专辑实在太多，且许多要么是拙劣的改编曲，要么是二流曲目的随意拼凑。但这张专辑不同：四首真正的杰作构成了一场美妙的音乐之旅，均为长笛与钢琴量身定制，且演奏水准无懈可击——更遑论与其他版本竞争。我想，在忙碌一天后，我会经常重温这张专辑，相信你也会如此。这是一股清新的音乐之风。——大卫·赫维茨，《今日古典》
Artist: Sharon Bezaly, Ronald Brautigam
Title: Masterworks for Flute and Piano
Year Of Release: 2006
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks)
Total Time: 63:03
Total Size: 574 Mb / 257 Mb
WebSite: Album Preview
Tracklist:
Sergei Prokofiev (1891-1953)
[1]-[4] Соната ре мажор, Op. 94 (1943)
Franz Schubert (1797-1828)
[5]-[13] Variations in E minor on the song ‘Trockne Blumen’, D 802 (1824)
Henri Dutilleux (b. 1916)
[14] Sonatina (1943)
André Jolivet (1905-1974)
[15] Chant de Linos (1944)
Performers:
Sharon Bezaly, flute
Ronald Brautigam, piano
On the evidence of this sensational disc, it seems clear that Sharon Bezaly is a flutist virtually without peer in the world today. The only serious competition for top position comes from Emmanuel Pahud, also a superb artist but one whose discography, fine enough in and of itself, fails to rise to Bezaly's level either in terms of imaginative programming or in its commitment to commissioning and recording worthy new works for the instrument. In this respect, Bezaly certainly stands alone. This collection, though, features some of the most popular chamber works in the flute repertoire. They've all been recorded many times previously, but here too there's no question that the team of Bezaly and Brautigam makes an unbeatable combination.
Prokofiev's Flute Sonata also exists in a version for violin and piano (the so-called Second Violin Sonata), but this is the original scoring, and it would be difficult to imagine a more refreshing duo. The tunes come out of the composer's top drawer and audibly relate to works composed around the same time (1943), such as the Fifth Symphony and the ballet Romeo and Juliet. Bezaly plays the solo part perfectly, with a rich, liquid tone, amazing breath control, and pinpoint accuracy of pitch. She has an ideal partner in Brautigam (in all these works). He offers lots of intriguing pianistic detail but always knows exactly how to modulate his tone so as to maintain a partnership of equals with the flute. The finale in particular contains some of the most finely judged keyboard/wind coordination ever captured on recordings, and you simply won't find a better performance of this sonata anywhere.
The same high level of achievement applies to the other three works on the disc. Schubert's Trockne Blumen Variations have an unusual depth of sadness thanks to Bezaly's ability to control her vibrato to expressive effect. There are several points where the melody has never sounded more consciously redolent of, and hardly less beautiful than, the Allegretto second movement of Beethoven's Seventh. It's a gorgeous, heartfelt performance. Dutilleux's delightful Sonatina flows seamlessly and sports an unusually high degree of timbral and rhythmic contrast. Once again, both here and in Jolivet's exotic Chant de Linos, Brautigam deserves a huge amount of credit for being able to play fistfuls of notes with impeccable clarity while still keeping such nuanced control of rhythm and dynamics.
And as for Bezaly, her brilliance in the Dutilleux can practically be taken for granted, while the Jolivet offers the sexiest 10 minutes ever produced by a wind instrument. BIS's sonics are state-of-the-art, whether in stereo or discreetly richer multichannel surround sound. I have to confess that I sometimes find it hard to care about flute recitals, especially since they are so ubiquitous, and so many consist either of inept transcriptions or a random assortment of less than first-rate music. Here we have four genuine masterpieces that make a lovely program together, all really written for flute and piano, and all played to a standard that silences criticism--not to mention the competition. I expect that I will be returning to this disc often after a hard day's work, and I feel certain that you will too. It's a breath of musical fresh air. -- David Hurwitz, ClassicsToday
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