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Artist: Ensemble Fratres, Hanspeter Oggier
Title: Telemann: Music for Flute
Year Of Release: 2016
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:14:26
Total Size: 448 mb / 1.51 gb
WebSite: Album Preview
Ensemble Fratres & Hanspeter Oggier - Telemann: Music for Flute (2016) [Hi-Res]
Tracklist
01. Ouverture-Suite in A Minor, TWV 55:2: I. Ouverture
02. Ouverture-Suite in A Minor, TWV 55:2: II. Les plaisirs
03. Ouverture-Suite in A Minor, TWV 55:2: III. Air à l'Italien
04. Ouverture-Suite in A Minor, TWV 55:2: IV. Menuett I-II
05. Ouverture-Suite in A Minor, TWV 55:2: V. Rejouissance
06. Ouverture-Suite in A Minor, TWV 55:2: VI. Passepied I-II
07. Ouverture-Suite in A Minor, TWV 55:2: VII. Polonoise
08. Flute Concerto in D Major, TWV 51:2: I. Moderato
09. Flute Concerto in D Major, TWV 51:2: II. Allegro
10. Flute Concerto in D Major, TWV 51:2: III. Largo
11. Flute Concerto in D Major, TWV 51:2: IV. Vivace
12. Ouverture-Suite in G Major, TWV 55:2: I. Ouverture
13. Ouverture-Suite in G Major, TWV 55:2: II. Courante
14. Ouverture-Suite in G Major, TWV 55:2: III. Gavotte en rondeau
15. Ouverture-Suite in G Major, TWV 55:2: IV. Branle
16. Ouverture-Suite in G Major, TWV 55:2: V. Sarabande
17. Ouverture-Suite in G Major, TWV 55:2: VI. Fantaisie
18. Ouverture-Suite in G Major, TWV 55:2: VII. Menuet I-II
19. Ouverture-Suite in G Major, TWV 55:2: VIII. Rossignol
20. Flute Concerto in G Major, TWV 51:2: I. Andante
21. Flute Concerto in G Major, TWV 51:2: II. Vivace
22. Flute Concerto in G Major, TWV 51:2: III. Adagio
23. Flute Concerto in G Major, TWV 51:2: IV. Allegro
Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive,
Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos.
In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and
French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.
This is evident in the Suite in A minor TWV 55:a2, which is actually highly instructive as a source of inspiration for Bach’s Suite in B minor BWV 1067. Likewise the short Concerto in D TWV 51 2 and the Concerto in G TWV 51:G2 offer telling examples of Telemann’s liberal, intelligent use of a generous palette of harmonic, rhetorical, melodic and rhythmical colours. Everything is there to hand, yet there is nothing in excess. Even when the composer indulges in a touch of caricature, as in the Suite ‘La Bizarre’ in G major RWV 55:G2, nothing is excessive, and nothing is wanting. This is synthesis reconciled with reverie: a touch of melodic harshness, immediately tempered by elegance, even in the concertato dialogues, where much is surprising and everything harmonious.
In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works.
The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well!
Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078).
艺术家：兄弟乐团、汉斯彼得·奥吉耶
专辑名称：《泰勒曼：长笛音乐》
发行年份：2016年
厂牌：辉煌古典（Brilliant Classics）
音乐类型：古典音乐
音质：无损FLAC格式 / 24比特 - 96.0千赫兹FLAC格式 + 小册子
总时长：1小时14分26秒
总大小：448兆字节 / 1.51吉字节
网站：专辑预览
兄弟乐团与汉斯彼得·奥吉耶 - 《泰勒曼：长笛音乐》（2016年）[高解析度音频]
曲目列表
01. A小调序曲组曲，作品编号TWV 55:2：第一乐章. 序曲
02. A小调序曲组曲，作品编号TWV 55:2：第二乐章. 《愉悦》
03. A小调序曲组曲，作品编号TWV 55:2：第三乐章. 《意大利风格的咏叹调》
04. A小调序曲组曲，作品编号TWV 55:2：第四乐章. 小步舞曲I - II
05. A小调序曲组曲，作品编号TWV 55:2：第五乐章. 《欢乐》
06. A小调序曲组曲，作品编号TWV 55:2：第六乐章. 帕斯皮耶舞曲I - II
07. A小调序曲组曲，作品编号TWV 55:2：第七乐章. 《波兰舞曲》
08. D大调长笛协奏曲，作品编号TWV 51:2：第一乐章. 中板
09. D大调长笛协奏曲，作品编号TWV 51:2：第二乐章. 快板
10. D大调长笛协奏曲，作品编号TWV 51:2：第三乐章. 广板
11. D大调长笛协奏曲，作品编号TWV 51:2：第四乐章. 活泼的
12. G大调序曲组曲，作品编号TWV 55:2：第一乐章. 序曲
13. G大调序曲组曲，作品编号TWV 55:2：第二乐章. 库朗特舞曲
14. G大调序曲组曲，作品编号TWV 55:2：第三乐章. 加沃特回旋曲
15. G大调序曲组曲，作品编号TWV 55:2：第四乐章. 布朗莱舞曲
16. G大调序曲组曲，作品编号TWV 55:2：第五乐章. 萨拉班德舞曲
17. G大调序曲组曲，作品编号TWV 55:2：第六乐章. 《幻想曲》
18. G大调序曲组曲，作品编号TWV 55:2：第七乐章. 小步舞曲I - II
19. G大调序曲组曲，作品编号TWV 55:2：第八乐章. 《夜莺》
20. G大调长笛协奏曲，作品编号TWV 51:2：第一乐章. 行板
21. G大调长笛协奏曲，作品编号TWV 51:2：第二乐章. 活泼的
22. G大调长笛协奏曲，作品编号TWV 51:2：第三乐章. 柔板
23. G大调长笛协奏曲，作品编号TWV 51:2：第四乐章. 快板
泰勒曼为长笛创作了大量优秀的作品，他对长笛这种乐器的理解深入骨髓。他曾写道：“当我看到房间的墙壁和角落摆满了各种乐器时，我的心激动不已……杰出的乐器演奏家们让我渴望提升自己在乐器上的演奏水平。如果内心的热情能驱使我超越键盘、小提琴和长笛，去学习双簧管、单簧管、维奥尔琴，甚至是低音提琴和低音长号，我一定会这么做的。”
与他们之前为辉煌古典唱片公司录制维瓦尔第作品（BC95078）的工作类似，汉斯彼得·奥吉耶和兄弟乐团此次选择了泰勒曼那些美妙而欢快的音乐作品，呈现出一场听觉盛宴。
泰勒曼工作严谨、思维敏锐且富有创造力，他是一位伟大的色彩大师，其作品的连贯性和开放的创作思路使他的音乐能够吸引最广泛的听众。这张专辑的特别之处在于长笛部分由排箫来演奏，为组曲和协奏曲增添了一种质朴、有时甚至是无忧无虑的色彩。
在泰勒曼的创作中，好奇心胜过完美主义，这表明他渴望创作出简单易懂、能被大众接受的作品。然而，这种创作方式并没有丝毫的肤浅之处：他巧妙地融合了意大利和法国的音乐风格，以及一些波兰传统的音乐风格元素。他把这些元素当作简单、易于运用的母语，而没有试图将它们融入自己的德国本土音乐风格。
这一点在A小调组曲TWV 55:a2中体现得很明显，实际上这部作品对巴赫的B小调组曲BWV 1067来说是一个极具启发性的灵感来源。同样，简短的D大调协奏曲TWV 512和G大调协奏曲TWV 51:G2也很好地展示了泰勒曼对丰富的和声、修辞、旋律和节奏色彩的自由且巧妙的运用。一切都恰到好处，没有任何多余之处。即使作曲家在G大调组曲《古怪》RWV 55:G2中加入了一些夸张的表现手法，也没有显得过度，一切都恰到好处。这是一种与幻想相融合的综合：即使在协奏曲的对话部分，一丝旋律上的粗犷也会立刻被优雅所调和，其中充满了惊喜，一切都和谐统一。
在巴洛克时期，作曲家们自由地改编自己或他人的作品并用于不同乐器的情况并不少见。因此，如今任何对乐器进行替代选择的尝试都应得到尊重和好奇：结果才是最重要的。而在这张泰勒曼长笛协奏曲改编为排箫演奏的新录音中，我们看到了怎样的成果啊！时而激昂热烈，时而甜美迷人：排箫拥有丰富的色彩表现力，足以完美诠释这些杰作。
如今形式的排箫起源于17世纪的罗马尼亚，主要作为一种民间乐器使用。然而，在“古典”巴洛克音乐中使用排箫绝不是一种格格不入的做法。排箫的即兴演奏特点，以及通过演奏者气息强度来调节音色的自然方式，特别适合巴洛克音乐！
排箫大师汉斯彼得·奥吉耶和他的兄弟乐团带来了令人振奋的演奏。他们之前已成功地为辉煌古典唱片公司录制了维瓦尔第的长笛协奏曲（BC95078）。
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发表于 2025-3-31 08:09:06