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艺术家：米凯莱·博洛
作品名称：《莫舍莱斯：钢琴奏鸣曲全集》
发行年份：2020年
厂牌：钢琴经典唱片公司
音乐类型：古典音乐
音质：无损FLAC格式 / 24比特-96.0千赫兹 + 小册子
总时长：1小时15分51秒
总大小：295兆字节 / 907兆字节
网站：专辑预览
曲目列表
01. D大调钢琴奏鸣曲，作品22号：第一乐章 中板的快板
02. D大调钢琴奏鸣曲，作品22号：第二乐章 有变奏曲的小行板
03. D大调钢琴奏鸣曲，作品22号：第三乐章 终曲。很快的快板
04. 降B大调钢琴奏鸣曲，作品27号：第一乐章 充满活力的快板
05. 降B大调钢琴奏鸣曲，作品27号：第二乐章 富有表现力的小行板
06. 降B大调钢琴奏鸣曲，作品27号：第三乐章 回旋曲。圆舞曲速度
07. E大调钢琴奏鸣曲，作品41号：第一乐章 有精神的快板
08. E大调钢琴奏鸣曲，作品41号：第二乐章 小步舞曲或谐谑曲。很快的快板
09. E大调钢琴奏鸣曲，作品41号：第三乐章 浪漫曲。富有表现力的行板
10. E大调钢琴奏鸣曲，作品41号：第四乐章 诙谐的回旋曲。不过分的快板
11. 升F小调钢琴奏鸣曲，作品49号：第一乐章 充满激情的快板
贝多芬的学生，门德尔松的老师：一位早期音乐浪漫主义关键人物主要作品的全新录音。
1814年，当出版商阿塔里亚委托伊格纳茨·莫舍莱斯为贝多芬的《费德里奥》编写钢琴缩谱时，他已是维也纳最受欢迎的钢琴家之一，并且他作为一名演奏家的职业生涯已经开启。十年后，他定居伦敦，前一年他刚刚在柏林为少年时期的门德尔松完成了正规的音乐指导；两人一直保持着友谊，直到门德尔松于1847年英年早逝。
莫舍莱斯的作曲作品通常被视为他作为演奏家以及后来作为教师所取得的显著成就的一种自然而然的附属品，并没有特别的灵感体现。
然而，舒曼认为莫舍莱斯是他那个时代最优秀的奏鸣曲作曲家之一，而这张珍贵的新录音有力地证实了舒曼的这一观点。这些奏鸣曲都创作于相对较短的大约三年时间内：作品22号奏鸣曲创作于1814年，而单乐章的“忧郁奏鸣曲”——升F小调作品49号，虽然也创作于同一年，但直到1821年才得以出版。同样创作于1814年维也纳的作品27号“特色奏鸣曲”的三个乐章，围绕着一首维也纳流行歌曲《享受生活》展开，这首歌后来在约翰·施特劳斯的一首圆舞曲中被赋予了永恒的生命（之后还被马勒引用在他的《第九交响曲》中）。
创作于1816年的E大调“大奏鸣曲”作品41号，以四个乐章的宏大篇幅呈现，通过其更强烈的表现力和戏剧性，向题献者贝多芬致以敬意。莫舍莱斯能够巧妙地构建音乐结构，在其中，主题思想的古典平衡被早期浪漫主义的活力所调和。总体的悲怆情感，尤其是半音化的运用，都没有被过度渲染，他的音乐从不流于多愁善感。
米凯莱·博洛在他的祖国意大利多次赢得钢琴比赛，他专注于古典主义和早期浪漫主义时期的音乐，演奏既使用历史古乐器，也使用现代乐器。
伊格纳茨·莫舍莱斯（1794-1870）出生于布拉格。1808年，他定居维也纳，在那里他是阿尔布雷希茨贝格和萨列里的学生——得益于他们的举荐，他在1811年至1813年间担任宫廷剧院的助理乐长。贝多芬对他印象极为深刻，以至于将《费德里奥》的钢琴改编工作交托给他。这位波恩天才的认可，以及他们之间随着时间延续而建立的友谊，在那些年里对于这位年轻音乐家进入国际音乐演奏界起到了关键作用。
伊格纳茨·莫舍莱斯的四首钢琴奏鸣曲于1814年至1821年间在维也纳创作并出版。它们属于作曲家的第一个创作阶段，尽管如此，其中展现出的创作才华揭示了他对技巧已然成熟的掌握以及丰富的主题构思。“他拥有克莱门蒂的学识、克拉默的表现力以及卡尔克布雷纳的才华”，一位同时代记者的这一描述总结了他的能力，以及他的演奏和创作的独特性与感染力。
意大利钢琴家米凯莱·博洛使用一架1815年的布罗德曼钢琴进行演奏，这架钢琴非常适合演奏这些曲目。
Artist: Michele Bolla
Title: Moscheles: Complete Piano Sonatas
Year Of Release: 2020
Label: Piano Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:15:51
Total Size: 295 / 907 mb
WebSite: Album Preview
Tracklist
01. Piano Sonata in D Major, Op. 22: I. Allegro Moderato
02. Piano Sonata in D Major, Op. 22: II. Andantino Con Variazioni
03. Piano Sonata in D Major, Op. 22: III. Finale. Allegro Di Molto
04. Piano Sonata in B-Flat Major, Op. 27: I. Allegro Con Brio
05. Piano Sonata in B-Flat Major, Op. 27: II. Andantino Espressivo
06. Piano Sonata in B-Flat Major, Op. 27: III. Rondo. Tempo De Valse
07. Piano Sonata in E Major, Op. 41: I. Allegro Con Spirit
08. Piano Sonata in E Major, Op. 41: II. Minuetto O Scherzo. Allegro Molto
09. Piano Sonata in E Major, Op. 41: III. Romance. Andante Espressivo
10. Piano Sonata in E Major, Op. 41: IV. Rondo Scherzando. Allegro Ma Non Troppo
11. Piano Sonata in F-Sharp Minor, Op. 49: I. Allegro Con Passione
Beethoven’s student, Mendelssohn’s teacher: new recordings of major works by a seminal figure of early musical Romanticism.
By 1814, when the publisher Artaria commissioned him to prepare a piano reduction of Beethoven’s Fidelio, Ignaz Moscheles was one of Vienna’s most popular pianists, and his career as a virtuoso had begun. A decade later he settled in London, having put the finishing touches on the teenage Mendelssohn’s formal instruction in Berlin the previous year; the two remained friends until the younger man’s death in 1847.
Moscheles’ composition has generally been viewed as a natural, not especially inspired adjunct to his considerable accomplishments as a performer and then teacher.
However, Schumann considered Moscheles one of the best sonata composers of his generation, and this valuable new recording gives proofpositive of Schumann’s claim. They were all written within the relatively condensed span of around three years: the Op.22 Sonata dates from 1814, while the single-movement ‘Sonate mélancolique’ Op.49 in the pathos-laden key of F sharp minor was written the same year but only published in 1821. Also composed in Vienna in 1814, the three movements of the Op.27 Sonata caracteristique centre around a Viennese popular song, Freut euch des Lebens, later immortalised in a waltz by Johann Strauss (and then quoted by Mahler in his Ninth Symphony).
Cast on the grandest scale in four movements, the Grande Sonate, Op.41 in E major, written in 1816, pays homage through its greater expressive and dramatic concentration to its dedicatee Beethoven. in Moscheles was capable of skilfully wrought musical structures, in which a Classical balance of thematic ideas is tempered with an early Romantic dynamism. Pathos in general, and chromaticism in particular, are not overplayed, and his music is never sentimental.
The winner of several piano competitions in his native Italy, Michele Bolla specialises in music of the Classical and early-Romantic period, working on both historical and modern instruments.
Ignaz Moscheles (1794-1870) was born in Prague. In 1808 he settled in Vienna where he was a pupil of Albrechtsberger and Salieri - thanks to whose commendations he became adjunct Kapellmeister to the Court Theatre from 1811 to 1813. Beethoven was so impressed by him that he entrusted him with the piano transcription of Fidelio. The approval of the genius of Bonn and the establishment of a friendship between them that would continue over time were pivotal in those years to launching the young musician into the stream of the international concert world.
The four piano sonatas of Ignaz Moscheles were composed and published in Vienna between 1814 and 1821. They belong to the composer’s first creative phase, nevertheless the compositional creativity that emerges reveals an already considered mastery of technique and the rich thematic invention. “He has Clementi’s science, Cramer’s expression and Kalkbrenner’s brilliance”, this description by a contemporary journalist sums up his capacities and the originality and power of both his playing and compositions.
Italian pianist Michele Bolla plays an 1815 Brodmann piano, perfectly suited to the repertoire.
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