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03-奥地利古乐合奏团 古纳尔·莱茨博 - 维瓦尔第《四季》2016年 Hi-Res 24B - 44.1kHz

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发表于 2025-5-15 07:48:50 | 显示全部楼层 |阅读模式
Ars Antiqua Austria & Gunar Letzbor - Vivaldi The Four Seasons (2016).jpg Ars Antiqua Austria & Gunar Letzbor - Vivaldi The Four Seasons (2016) back.jpg



艺术家:奥地利古乐合奏团、古纳尔·莱茨博
作品名称:维瓦尔第:《四季》
发行年份:2016年
厂牌:挑战古典音乐厂牌(Challenge Classics)
音乐类型:古典音乐
音质:FLAC无损格式 / 24比特 - 44.1千赫兹 + 小册子
总时长:00:59:35
总大小:308 / 590兆字节
网站:专辑预览

曲目列表
01. E大调小提琴协奏曲《春》,RV 269(安东尼奥·维瓦尔第):第一乐章 快板
02. E大调小提琴协奏曲《春》,RV 269(安东尼奥·维瓦尔第):第二乐章 广板
03. E大调小提琴协奏曲《春》,RV 269(安东尼奥·维瓦尔第):第三乐章 田园舞曲
04. G小调小提琴协奏曲《夏》,RV 315(安东尼奥·维瓦尔第):第一乐章 不太快的快板
05. G小调小提琴协奏曲《夏》,RV 315(安东尼奥·维瓦尔第):第二乐章 柔板
06. G小调小提琴协奏曲《夏》,RV 315(安东尼奥·维瓦尔第):第三乐章 急板
07. F大调小提琴协奏曲《秋》,RV 293(安东尼奥·维瓦尔第):第一乐章 快板I
08. F大调小提琴协奏曲《秋》,RV 293(安东尼奥·维瓦尔第):第二乐章 甚柔板
09. F大调小提琴协奏曲《秋》,RV 293(安东尼奥·维瓦尔第):第三乐章 快板II
10. F小调小提琴协奏曲《冬》,RV 297(安东尼奥·维瓦尔第):第一乐章 不太快的快板
11. F小调小提琴协奏曲《冬》,RV 297(安东尼奥·维瓦尔第):第二乐章 广板
12. F小调小提琴协奏曲《冬》,RV 297(安东尼奥·维瓦尔第):第三乐章 快板
13. D小调协奏曲(弗兰季谢克·伊拉内克):第一乐章 不太快的快板
14. D小调协奏曲(弗兰季谢克·伊拉内克):第二乐章 庄板
15. D小调协奏曲(弗兰季谢克·伊拉内克):第三乐章 快板

奥地利古乐合奏团&古纳尔·莱茨博 - 维瓦尔第:《四季》(2016年)[高解析度]

由小提琴家古纳尔·莱茨博指挥并带领的奥地利古乐合奏团挑战了《四季》这部作品。和他们以往的演奏一样,这次对作品的诠释也别具一格:在维瓦尔第的这四部协奏曲中处处都体现出独特的个人风格。

奥地利古乐合奏团的演奏并非是对作品的重新创作,而是一种重新发现:他们所有的音乐选择,尽管新颖且前所未闻,但始终源于对音乐的新鲜感、纯真以及对演奏规范的尊重,绝非随意为之。古纳尔·莱茨博说:“如今,要毫无先入之见地演奏维瓦尔第的音乐几乎是不可能的,即使很少接触他的作品。维瓦尔第的音乐随处可闻。但这也许只是他丰富作品中的几部作品的声音呢?当我第一次用小提琴演奏《和谐的灵感》(La Cetra)时,我发现了一些我实在无法忍受的典型的维瓦尔第风格元素。然而,与此同时,我惊讶地发现还有许多值得探索的新特点。

“我们绝不能轻易地给一切都贴上熟悉的维瓦尔第标签。在此期间,我对维瓦尔第的作品有了更深的喜爱。在他的作品中有许多值得发现的东西,而不仅仅局限于那些主流的音乐风格。为了这次录音,我们安静地练习;尝试各种音色;接受或摒弃一些想法;研读乐谱文本;重新发掘其中的旋律,并且尽可能不去听其他任何维瓦尔第作品的录音版本。”

Artist: Ars Antiqua Austria, Gunar Letzbor
Title: Vivaldi: The Four Seasons
Year Of Release: 2016
Label: Challenge Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 00:59:35
Total Size: 308 / 590 mb
WebSite: Album Preview

Tracklist

01. Violin Concerto in E Major "La Primavera", RV 269 (Antonio Vivaldi): I. Allegro
02. Violin Concerto in E Major "La Primavera", RV 269 (Antonio Vivaldi): II. Largo
03. Violin Concerto in E Major "La Primavera", RV 269 (Antonio Vivaldi): III. Danza Pastorale
04. Violin Concerto in G Minor "Estate“, RV 315 (Antonio Vivaldi): I. Allegro non molto
05. Violin Concerto in G Minor "Estate“, RV 315 (Antonio Vivaldi): II. Adagio
06. Violin Concerto in G Minor "Estate“, RV 315 (Antonio Vivaldi): III. Presto
07. Violin Concerto in F Major "Autumno", RV 293 (Antonio Vivaldi): I. Allegro I
08. Violin Concerto in F Major "Autumno", RV 293 (Antonio Vivaldi): II. Adagio molto
09. Violin Concerto in F Major "Autumno", RV 293 (Antonio Vivaldi): III. Allegro II
10. Violin Concerto in F Minor "L’Inverno", RV 297 (Antonio Vivaldi): I. Allegro non molto
11. Violin Concerto in F Minor "L’Inverno", RV 297 (Antonio Vivaldi): II. Largo
12. Violin Concerto in F Minor "L’Inverno", RV 297 (Antonio Vivaldi): III. Allegro
13. Concerto in D minor (Frantisek Jiranek): I. Allegro non molto
14. Concerto in D minor (Frantisek Jiranek): II. Grave
15. Concerto in D minor (Frantisek Jiranek): III. Allegro

Ars Antiqua Austria & Gunar Letzbor - Vivaldi: The Four Seasons (2016) [Hi-Res]

Ars Antiqua Austria, the group directed and led by violinist Gunar Letzbor, takes on the ‘Four Seasons’ challenge but, as usual with their performances, their account is unusual: an individual touch is present throughout all four of Vivaldi’s Concertos.

AAA’s account is not a re-invention, it’s a re-discovery: all their musical choices, although original and not heard before, are always the fruit of freshness, innocence and discipline, they are never arbitrary. Gunar Letzbor says: “It is almost impossible nowadays to perform Vivaldi’s music without any preconceptions, even if one engages with it only rarely. Vivaldi’s sound is ubiquitous. Or is that perhaps the sound of only a few works from his rich oeuvre? When I played through “La Cetra” for the first time on the violin, I found some typical Vivaldi-isms which I really cannot stand. At the same time, however, I was surprised to find a remarkable body of new features waiting to be discovered.

“One just must not succumb to the temptation of immediately putting the familiar Vivaldi stamp onto everything. I have, in the meantime, formed an even greater friendship with Vivaldi. There is so much to discover amongst his works, away from mainstream sounds. This recording and its preparation: practising in peace and quiet; trying out sounds; receiving and discarding ideas; taking in the texts; rediscovering melodies and, if possible, never listening to any Vivaldi recordings.”


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