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艺术家：陈娇，瓦莱里奥・洛西托
标题：罗伯特・拉赫：柔音中提琴与钢琴奏鸣曲及抒情小品
发行年份：2016 年
厂牌：辉煌古典唱片
类型：古典音乐
音质：无损 FLAC 格式 / 24 位 - 48.0 千赫兹 FLAC 格式 + 小册子
总时长：02:26:17
总大小：598 兆字节 / 1.37 千兆字节
网站：专辑预览
曲目列表
01. G 大调第二奏鸣曲，作品 36 号：I. 中板，相当如歌且富有表现力
02. G 大调第二奏鸣曲，作品 36 号：II. 柔板，极富表现力
03. G 大调第二奏鸣曲，作品 36 号：III. 很快的快板，始终诙谐。三声中部，相当如歌且富有表现力
04. G 大调第二奏鸣曲，作品 36 号：IV. 生气勃勃的快板
05. e 小调第一奏鸣曲，作品 25 号：I. 相当中板，极富表现力
06. e 小调第一奏鸣曲，作品 25 号：II. 绵延的行板，极富表现力
07. e 小调第一奏鸣曲，作品 25 号：III. 小谐谑曲，诙谐的小快板。三声中部，相当中板
08. e 小调第一奏鸣曲，作品 25 号：IV. 不过分的快板
09. 降 E 大调第三奏鸣曲，作品 66 号：I. 中板
10. 降 E 大调第三奏鸣曲，作品 66 号：II. 绵延的行板
11. 降 E 大调第三奏鸣曲，作品 66 号：III. 很快的快板，近乎急板
12. 降 E 大调第三奏鸣曲，作品 66 号：IV. 很快的快板，充满活力
13. 九首抒情小品，作品 23 号：I. 田园诗
14. 九首抒情小品，作品 23 号：II. 幽默曲
15. 九首抒情小品，作品 23 号：III. 浪漫曲
16. 九首抒情小品，作品 23 号：IV. 船歌
17. 九首抒情小品，作品 23 号：V. 挽歌
18. 九首抒情小品，作品 23 号：VI. 短抒情曲
19. 九首抒情小品，作品 23 号：VII. 传奇
20. 九首抒情小品，作品 23 号：VIII. 叙事曲
21. 九首抒情小品，作品 23 号：IX. 加沃特舞曲
陈娇与瓦莱里奥・洛西托 - 《罗伯特・拉赫：柔音中提琴与钢琴奏鸣曲及抒情小品》（2016 年）[高解析度]
罗伯特・拉赫（1874-1958）是又一位险些被历史遗忘的作曲家，如今辉煌古典唱片使其部分作品重获关注。这位从法律系学生转型为民族音乐学家的创作者，其音乐创作中蕴含着浓厚的德国民族主义色彩，曾编纂多部民间音乐集（如民歌集），并与希特勒的纳粹党联系密切。事实上，他曾严厉批评同僚将种族理论与音乐学牵强关联、对瓦格纳和布鲁克纳盲目追捧的行为，其兴趣主要集中在学术领域，例如他对维也纳国家图书馆音乐手稿的系统整理工作便印证了这一点。
拉赫的创作包括八部弥撒曲、十部交响曲、二十五首弦乐四重奏及大量其他器乐作品，但除了同样多产的艺术歌曲外，其作品出版甚少。此次新录音聚焦于他为柔音中提琴创作的奏鸣曲 —— 这种乐器即便在 19 世纪末也已长期无人问津。柔音中提琴的黄金时代始于巴洛克时期，比伯、斯卡拉蒂和维瓦尔第均为其创作过奏鸣曲，甚至到 1756 年，利奥波德・莫扎特仍称其 “在静夜中听来尤为迷人”。
瓦莱里奥・洛西托此前已在辉煌古典唱片发行的两张专辑中（巴洛克时期独奏作品 94367、斯卡拉蒂奏鸣曲 94242）展现了柔音中提琴的独特音色。而拉赫的创作采用浓郁的浪漫主义风格，可与勃拉姆斯晚期作品相媲美，其三首奏鸣曲创作于 1913 至 1922 年间，在风格上具有双重复古特征。专辑收尾的九首《抒情小品》（1920-1923）则如标题所示（田园诗、幽默曲、浪漫曲、船歌、挽歌等），探索了浪漫主义的多元情感与特质。
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Artist: Jiao Chen, Valerio Losito
Title: Robert Lach: Sonatas & Lyrische Stücke for Viola d'Amore and Piano
Year Of Release: 2016
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz +booklet
Total Time: 02:26:17
Total Size: 598 mb /1.37 gb
WebSite: Album Preview
Tracklist
01. Sonata No. 2 in G Major, Op. 36: I. Moderato, assai cantabile ed espressivo
02. Sonata No. 2 in G Major, Op. 36: II. Adagio molto espressivo
03. Sonata No. 2 in G Major, Op. 36: III. Allegro assai sempre scherzando. Trio, molto cantabile ed espressivo
04. Sonata No. 2 in G Major, Op. 36: IV. Allegro con brio
05. Sonata No. 1 in E Minor, Op. 25: I. Moderato assai, molto espressivo
06. Sonata No. 1 in E Minor, Op. 25: II. Andante sostenuto e molto espressivo
07. Sonata No. 1 in E Minor, Op. 25: III. Scherzino, allegretto scherzando. Trio, moderato assai
08. Sonata No. 1 in E Minor, Op. 25: IV. Allegro ma non troppo
09. Sonata No. 3 in E-Flat Major, Op. 66: I. Moderato
10. Sonata No. 3 in E-Flat Major, Op. 66: II. Andante molto sostenuto
11. Sonata No. 3 in E-Flat Major, Op. 66: III. Allegro assai quasi presto
12. Sonata No. 3 in E-Flat Major, Op. 66: IV. Allegro assai molto energico
13. 9 Lyrische Stücke, Op. 23: I. Idylle
14. 9 Lyrische Stücke, Op. 23: II. Humoreske
15. 9 Lyrische Stücke, Op. 23: III. Romanze
16. 9 Lyrische Stücke, Op. 23: IV. Barcarole
17. 9 Lyrische Stücke, Op. 23: V. Elegie
18. 9 Lyrische Stücke, Op. 23: VI. Cavatine
19. 9 Lyrische Stücke, Op. 23: VII. Legende
20. 9 Lyrische Stücke, Op. 23: VIII. Ballade
21. 9 Lyrische Stücke, Op. 23: IX. Gavotte
Jiao Chen & Valerio Losito - Robert Lach: Sonatas & Lyrische Stücke for Viola d'Amore and Piano (2016) [Hi-Res]
Robert Lach (1874-1958) is another name almost lost to history and now partially rehabilitated by Brilliant Classics. At least it will now be possible to hear the creative voice of this law-student turned ethnomusicologist whose more-than-cultural interest in German Nationalism produced many collections of vernacular material such as folksongs as well as a strong association with Hitler’s National Socialist Party. In fact he was a stern critic of his colleagues’ slavish attempts to link racial theory to musicology with panegyrics to Wagner and Bruckner, and his interests remained primarily academic, as attested by his painstaking work in catalogueing the collection of musical manuscripts in the National Library of Vienna.
Lach’s own compositions include eight masses, ten symphonies, twenty-five string quartets and a great deal of other instrumental music, but little of his music has been published beyond his songs, a genre in which he was no less prolific. His historiographical enthusiasms may now be freshly appreciated with this new recording of the sonatas he wrote for an instrument which was long obsolete even by the late 19th-century, the viola d’amore. The instrument’s noon came in the Baroque era: Biber, Scarlatti and Vivaldi all wrote sonatas, though as late as 1756, Leopold Mozart could remark that it sounds ‘especially charming in the stillness of the evening.’
Valerio Losito has demonstrated the particular qualities of the viola d’amore on two previous Brilliant Classics releases, of solo music from the Baroque period (94367) and sonatas by Scarlatti (94242). Lach, however, was composing in a richly Romantic idiom comparable with the late music of Brahms, and his three sonatas date from 1913-22, being thus doubly archaic in style. The album is completed with nine Lyric Pieces (1920-23) which explore Romantic moods and characters, as their titles reveal (Idylle, Humoreske, Romanze, Barcarole, Elegie, Cavatine, Legende, Ballade, Gavotte).
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