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艺术家：西诺西二重奏组合
专辑名称：《勃拉姆斯：第一号和第二号大提琴奏鸣曲》
发行年份：2020年
厂牌：古典在线
音乐类型：古典音乐
音质：无损FLAC格式 / 24比特-88.2千赫兹FLAC格式
总时长：1小时0分17秒
总大小：244兆字节 / 949兆字节
网站：专辑预览
曲目列表
01. E小调第一号大提琴奏鸣曲，作品38号：第一乐章，不过分的快板
02. E小调第一号大提琴奏鸣曲，作品38号：第二乐章，近似小步舞曲的小快板
03. E小调第一号大提琴奏鸣曲，作品38号：第三乐章，快板
04. F大调第二号大提琴奏鸣曲，作品99号：第一乐章，活泼的快板
05. F大调第二号大提琴奏鸣曲，作品99号：第二乐章，深情的柔板
06. F大调第二号大提琴奏鸣曲，作品99号：第三乐章，热情的快板
07. F大调第二号大提琴奏鸣曲，作品99号：第四乐章，很快的快板
在19世纪早期及更早的时候，包含钢琴的器乐合奏奏鸣曲通常被称作“有乐器伴奏的钢琴奏鸣曲”。比如，贝多芬的首批小提琴奏鸣曲是以“有小提琴伴奏的钢琴奏鸣曲”的名义出版的。18世纪的大多数大提琴奏鸣曲是为通奏低音而作，键盘部分的左手常常重复大提琴的声部，而贝多芬因创作出了该类型中一些首批有着完整谱写的钢琴声部的作品而受到赞誉。
贝多芬创作的前两首大提琴奏鸣曲于1796年作为作品5号出版，并题献给了弗里德里希·威廉二世。人们认为这两首奏鸣曲是为著名大提琴家让-路易·迪波而构思创作的。据那个时代的记载，它们曾在宫廷中演奏过数次。这两首作品5号的奏鸣曲立意深远，即便它们是由两个乐章构成（在这两首作品中，开篇乐章都有一段较长的引子，接着是一个奏鸣曲式的快节奏乐章，这暗示着存在第三乐章）。
第三首大提琴奏鸣曲，A大调，作为作品69号出版，创作于1808年，总体而言，其谱写相较于之前的奏鸣曲更加均衡且明晰。小提琴家马克·卡普兰写道：“更精湛的作曲技巧让贝多芬能够自信地用更少的音符来表达。”大提琴家史蒂文·伊瑟利斯将其描述为历史上第一首赋予两件乐器同等重要地位的大提琴奏鸣曲。
两首作品102号的奏鸣曲（第四号和第五号）创作于1812年末至1817年间。在那段时间里，贝多芬面临着各种各样的困难，经历了一段在实际和象征意义上的沉默时期。随着他的耳聋愈发严重，他的创作产出也减少了。在A大调奏鸣曲创作完成七年之后才创作了这两首奏鸣曲，它们复杂的作曲结构和前瞻性的特质（与同时期创作的A大调钢琴奏鸣曲作品101号一样）标志着通常所说的贝多芬“第三创作时期”的开端。
西诺西二重奏组合，由玛丽安娜·西纳格拉演奏大提琴，洛伦佐·科西演奏钢琴，对这五首作品以及三组变奏曲进行了演绎，突显了对位织体的丰富性和乐器演奏的精彩绝伦。
该录音是使用两对森海塞尔麦克风录制完成的。
Artist: Duo Sinossi
Title: Brahms: Cello Sonatas Nos. 1 & 2
Year Of Release: 2020
Label: OnClassical
Genre: Classical
Quality: flac lossless / flac 24bits - 88.2kHz
Total Time: 01:00:17
Total Size: 244 / 949 mb
WebSite: Album Preview
Tracklist
01. Cello Sonata No. 1 in E Minor, Op. 38 I. Allegro non troppo
02. Cello Sonata No. 1 in E Minor, Op. 38 II. Allegretto quasi menuetto
03. Cello Sonata No. 1 in E Minor, Op. 38 III. Allegro
04. Cello Sonata No. 2 in F Major, Op. 99 I. Allegro vivace
05. Cello Sonata No. 2 in F Major, Op. 99 II. Adagio affettuoso
06. Cello Sonata No. 2 in F Major, Op. 99 III. Allegro passionato
07. Cello Sonata No. 2 in F Major, Op. 99 IV. Allegro molto
In the early 19th century and earlier, the instrumental sonata for ensemble that included piano was usually called "piano sonata with instrumental accompaniment". Beethoven's first violin sonatas, for instance, were published as "sonatas for piano with violin accompaniment." While most sonatas with cello from the 18th century were written for continuo, with the left hand of the keyboard part often doubling the cello, Beethoven is credited for composing some of the first works in the genre that featured a written-out piano part.
The first two cello sonatas that Beethoven composed were published as Op. 5 in 1796, and were dedicated to Friedrich Wilhelm II. They are thought to have been written with the celebrated cellist Jean-Louis Duport in mind. As the chronicles of the era report, they were played several times at court. The two Sonatas, Op. 5 are monumental in intentions, even if they are structured in two movements (in both compositions, the opening movement presents a lengthy introduction followed by a fast-paced movement in sonata form, which alludes to the presence of a third movement).
The third cello sonata, in the key of A Major and published as Op. 69, was written in 1808, and generally proposes more balanced and transparent writing than the previous sonatas. "Greater compositional technique allowed Beethoven the possibility of using fewer notes with confidence," wrote violinist Mark Kaplan. Cellist Steven Isserlis describes it as the first cello sonata in history to give the two instruments equal importance.
The two Sonatas, Op. 102 (Nos. 4 and 5) were composed between the end of 1812 and 1817. During that time, Beethoven was challenged by all sorts of difficulties, and experienced a period of literal and figurative silence. As his deafness became overwhelmingly profound, his productivity diminished. Following the A Major Sonata by seven years, the complexity of their composition and their visionary character marks (alongside the Piano Sonata in A Major, Op 101, written at the same time) the start of what is generally described as Beethoven’s “third period.”
The Duo Sinossi, with Marianna Sinagra at the cello and Lorenzo Cossi at the piano, offers a reading of the five compositions, plus the three sets of variations, that underscores the richness of contrapuntal textures and instrumental brilliance.
The recording was made with two pairs of Sennheiser microphones.
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发表于 2025-5-12 07:47:22