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艺人：卡门・迈纳・马丁、恩里克・埃斯卡廷・阿拉、维奥莱塔・穆尔
专辑名称：《莫扎特同时代人：18 世纪巴松管音乐》
发行年份：2021 年
厂牌：辉煌古典（Brilliant Classics）
音乐类型：古典音乐
音质：无损 FLAC / 24 位 - 96kHz FLAC + 手册
总时长：58 分 14 秒
总容量：262 MB / 1.06 GB
官网：专辑预览
曲目列表
01. G 大调协奏二重奏，作品 3 第 2 号：I. 快板
02. G 大调协奏二重奏，作品 3 第 2 号：II. 回旋曲
03. 降 B 大调第 1 奏鸣曲：I. 庄严的快板
04. 降 B 大调第 1 奏鸣曲：II. 回旋曲 - 快板
05. G 大调第 5 奏鸣曲：I. 优雅的快板
06. G 大调第 5 奏鸣曲：II. 回旋曲 - 小快板
07. F 大调协奏二重奏，作品 3 第 1 号：I. 中板快板
08. F 大调协奏二重奏，作品 3 第 1 号：II. 回旋曲
09. C 大调第 6 奏鸣曲：I. 快板
10. C 大调第 6 奏鸣曲：II. 回旋曲 - 快板
11. G 大调第 3 奏鸣曲：I. 柔板 - 快板
12. G 大调第 3 奏鸣曲：II. 小步舞曲速度，但稍快
13. 降 B 大调巴松管与大提琴奏鸣曲，KV.292：I. 快板
14. 降 B 大调巴松管与大提琴奏鸣曲，KV.292：II. 行板
15. 降 B 大调巴松管与大提琴奏鸣曲，KV.292：III. 回旋曲，快板
《卡门・迈纳・马丁、恩里克・埃斯卡廷・阿拉与维奥莱塔・穆尔 - 莫扎特同时代人：18 世纪巴松管音乐（2021）[高解析度]》
这场独特的演奏会以一首真正的莫扎特稀有作品为起点 ——1775 年创作的《巴松管与大提琴奏鸣曲》（KV.292）。莫扎特将弦乐与木管家族的低音乐器结合，并非为了喜剧效果，而是通过熟练演奏者的演绎，展现它们的表现力多样性与对比音色。这部奏鸣曲仅最熟练的业余演奏者（如最初的 dedicatee，贵族、钢琴家兼偶尔的巴松管演奏者塔达乌斯・沃尔夫冈・冯・迪尔尼茨）方可驾驭。
从这位伯爵的音乐天赋可从同年莫扎特题献给他的《钢琴奏鸣曲》（K284）窥见一斑 —— 这是作曲家首批真正的天才之作，尤其在其漫长的主题与变奏终章中展现的非凡意境。巴松管与大提琴奏鸣曲或许在轻松的深邃感上不及 K284，但其行板乐章仍可听见少年作曲家达到一种崇高庄重的风格，预示了《交响协奏曲》（K364）等杰作的诞生。
更罕见的是迪尔尼茨本人的创作成果，此处从其六首巴松管与键盘奏鸣曲中选取四首。他显然擅长发掘乐器音域的高音区（斯特拉文斯基在《春之祭》开篇曾著名地运用这一特点），尤其在第 3 号奏鸣曲的挽歌式引子中。从他对古典主义传统的熟练吸收，以及快速乐章中挑战巴松管 “仅为灵活乐器伴奏” 观念的炫技写作来看，迪尔尼茨绝非业余爱好者。
在这两位作曲家之间，是比莫扎特年轻四岁的法国作曲家弗朗索瓦・德维安（François Devienne），他于 1782 年左右创作了六首《协奏二重奏》（作品 3），专为两支巴松管而作。卡门・迈纳・马丁在此演绎其中两首，第二部分改编为大提琴，与莫扎特奏鸣曲的编制一致。这是她在辉煌古典的第二张专辑；首张专辑（95761，与恩里克・埃斯卡廷・阿拉合作）曾获西班牙及其他地区媒体赞誉：“她的演绎确立了巴松管作为室内乐乐器的重要地位。作为演奏家，她技术精湛，音色表现力卓越 —— 从中音区的浪漫浓郁到高音区的现代风格发音，皆游刃有余。”（《数字乐迷》）
Artist: Carmen Mainer Martín, Enrique Escartín Ara, Violeta Mur
Title: Mozart Contemporaries: 18th Century Music for Bassoon
Year Of Release: 2021
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 960kHz +Booklet
Total Time: 00:58:14
Total Size: 262 mb / 1.06 gb
WebSite: Album Preview
Tracklist
01. Duo Concertant in G Major, Op. 3 No. 2: I. Allegro
02. Duo Concertant in G Major, Op. 3 No. 2: II. Rondo
03. Sonata No. 1 in B-Flat Major: I. Allegro Maestoso
04. Sonata No. 1 in B-Flat Major: II. Rondo-Allegro
05. Sonata No. 5 in G Major: I. Allegro Ma Ben Posato
06. Sonata No. 5 in G Major: II. Rondo-Allegretto
07. Duo Concertant in F Major, Op. 3 No. 1: I. Allegro Moderato
08. Duo Concertant in F Major, Op. 3 No. 1: II. Rondo
09. Sonata No. 6 in C Major: I. Allegro
10. Sonata No. 6 in C Major: II. Rondo-Allegro
11. Sonata No. 3 in G Major: I. Adagio-Allegro
12. Sonata No. 3 in G Major: II. Tempo di Menuetto, Ma Un Poco Allegro
13. Sonata for Bassoon and Cello in B-Flat Major, KV. 292: I. Allegro
14. Sonata for Bassoon and Cello in B-Flat Major, KV. 292: II. Andante
15. Sonata for Bassoon and Cello in B-Flat Major, KV. 292: III. Rondo. Allegro
Carmen Mainer Martín, Enrique Escartín Ara & Violeta Mur - Mozart Contemporaries: 18th Century Music for Bassoon (2021) [Hi-Res]
The starting-point for this unique recital is a true Mozart rarity, the Sonata for bassoon and cello K292 which Mozart wrote in 1775, pairing the bass members of string and wind families not to comic effect but rather demonstrating their expressive versatility and contrasting tone-colours, in the hands of sufficiently practised performers; the Sonata is accessible by only the most skilled amateur performers such as its original dedicatee, the nobleman, pianist and occasional bassoonist Thaddäus Wolfgang von Dürnitz.
The count’s considerable musical gifts may be judged from the teenaged Mozart’s dedication of the Piano Sonata K284 in the same year: one of the composer’s first works of absolute genius, notably in the extraordinary landscape of its long theme-and-variation finale. The bassoon-and-cello sonata may not rival K284 for lightly worn profundity, but in its Andante we may still hear the teenaged composer attaining an idiom of sublime gravity which anticipates masterpieces such as the Sinfonia Concertante K364.
Rarer still on disc is the creative output of Dürnitz himself, represented here by four sonatas for bassoon and keyboard from a collection of six. He evidently cultivated a particular facility at the top of the intrument’s range (famously exploited by Stravinsky to open Le sacre du printemps), notably in the elegiac introduction to Sonata No.3. Dürnitz was no dilettante musician, to judge from his ready assimilation of Classical-era convention and the kind of virtuoso writing in the quick movements that challenges conceptions of the bassoon as a sturdy accompaniment to more agile musical companions.
Between these two composers in the register of fame falls the French composer François Devienne, four years younger than Mozart and author of six Duos Concertants Op.3 for two bassoons in around 1782; Carmen Mainer Martín presents two of them here, with the second part arranged for cello in the same disposition as Mozart’s sonata. This is her second album on Brilliant Classics; the first (95761), also accompanied by Enrique Escartín Ara, attracted praise in the Spanish press and beyond: ‘Her approach vindicates the prominence of the bassoon as a chamber music instrument, as a performer of outstanding technical mastery and a formidable tone-colourist, from the romantic density in the middle register to sounds typical of contemporary articulation in the high register’ (Melómano Digital).
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