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艺术家：吉顿·克莱默（Gidon Kremer）、吉德雷·迪尔瓦诺斯科凯特（Giedrė Dirvanauskaitė）、格奥尔吉斯·奥索金斯（Georgijs Osokins）
标题：吉顿·克莱默 贝多芬与肖邦：钢琴三重奏
发行年份：2020年
厂牌：Accentus Music
类型：古典音乐
音质：FLAC（分轨）/ 24位-96kHz FLAC（分轨+小册子）
总时长：67分19秒
总大小：282兆字节 / 1.16千兆字节
网站：专辑预览
曲目列表
01. C大调三重协奏曲，作品56（C. 莱内克改编为钢琴三重奏版）：I. 快板（18:44）
02. C大调三重协奏曲，作品56（C. 莱内克改编为钢琴三重奏版）：II. 广板（5:08）
03. C大调三重协奏曲，作品56（C. 莱内克改编为钢琴三重奏版）：III. 波兰舞曲风格回旋曲（13:56）
04. g小调钢琴三重奏，作品8，B. 25：I. 火热的快板（10:56）
05. g小调钢琴三重奏，作品8，B. 25：II. 谐谑曲，活泼的（6:46）
06. g小调钢琴三重奏，作品8，B. 25：III. 柔板，绵延的（6:14）
07. g小调钢琴三重奏，作品8，B. 25：IV. 终曲，小快板（5:39）
专辑解析
在贝多芬诞辰纪念之年，其《三重协奏曲》（为小提琴、大提琴与钢琴而作）的新录音却寥寥无几，这与同期涌现的大量《小提琴协奏曲》录音形成鲜明对比。或许对许多人而言，这部作品虽具宏大戏剧性与趣味性，且理论上汇聚三位顶级独奏家的设定颇具吸引力，但实际演绎中仍存在挑战。如今，吉顿·克莱默、吉德雷·迪尔瓦诺斯科凯特与格奥尔吉斯·奥索金斯带来了卡尔·莱内克1867年的钢琴三重奏改编版，录音于卡托维兹的卡罗尔·席曼诺夫斯基音乐学院音乐厅，声学环境温暖而富有支撑力。
无论省去管弦乐队是否符合听众预期（有人认为，尽管原版中管弦乐与独奏者的互动未必深刻，但第一乐章的强奏段落由钢琴三重奏呈现时可能显得单薄），这组音乐家仍以极强的说服力诠释了改编版：他们在和声融合或旋律呼应中展现出敏锐的室内乐默契，对音乐的戏剧性保持着鲜活感知——广板乐章紧绷而凝滞，终章《波兰舞曲风格回旋曲》则轻盈灵动，随着进程逐渐注入浓郁的波兰民间风情。
这一终章的波兰舞曲风格，恰与肖邦的《g小调钢琴三重奏》形成巧妙衔接——这部早期作品已预示了肖邦成熟期的风格，而钢琴声部在此从贝多芬改编版中承担的“管弦乐伴奏”角色，转而成为真正的焦点。奥索金斯的演奏尤为耀眼，尤其是终章中，他以清脆如银的音色、富有舞蹈性的节奏起伏与充满诱惑的自由速度，在欢腾的加速段落中挥洒出绚烂的华彩，引领乐曲驶向辉煌终点。
© 夏洛特·加德纳/Qobuz
Artist: Gidon Kremer, Giedrė Dirvanauskaitė, Georgijs Osokins
Title: Beethoven & Chopin: Piano Trios
Year Of Release: 2020
Label: Accentus Music
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 67:19
Total Size: 282 MB / 1.16 GB
WebSite: Album Preview
Tracklist:
01. Triple Concerto in C Major, Op. 56 (Arr. C. Reinecke for Piano Trio): I. Allegro (18:44)
02. Triple Concerto in C Major, Op. 56 (Arr. C. Reinecke for Piano Trio): II. Largo (5:08)
03. Triple Concerto in C Major, Op. 56 (Arr. C. Reinecke for Piano Trio): III. Rondo alla polacca (13:56)
04. Piano Trio in G Minor, Op. 8, B. 25: I. Allegro con fuoco (10:56)
05. Piano Trio in G Minor, Op. 8, B. 25: II. Scherzo. Vivace (6:46)
06. Piano Trio in G Minor, Op. 8, B. 25: III. Adagio. Sostenuto (6:14)
07. Piano Trio in G Minor, Op. 8, B. 25: IV. Finale. Allegretto (5:39)
Given that a concerto is usually a sure attention-grabber, it's been notable how thin on the ground new recordings of Beethoven's Triple Concerto for violin, cello and piano have been during this big birthday year of his; at least in comparison to the flurry of new Violin Concertos that have appeared. Confirmation, perhaps, that for many it's a rather problematic work, despite its big-boned drama, sense of fun, and indeed the theoretical attraction of uniting not one but three A-lister soloists. But now here are Gidon Kremer, Giedre Dirvanauskaite and Georgijs Osokins with Carl Reinecke 1867 piano trio arrangement of it, recorded in the warmly supportive acoustic of the Karol Szymanowski Academy of Music Concert Hall in Katowice.
And whether or not dispensing with the orchestra works for you (some will say that, while the original may be short on meaningful interplay between orchestra and soloists, the first movement's triumphant forte passages can sound a bit anaemic when heard from piano trio alone), these musicians make the strongest possible case for it: keen chamber awareness of each other, whether fused together in harmony or playing catch with melodic ideas; sparklingly alive overall to the music's theatrics, with a wonderfully taut, time-standing-still Largo, and an attractively delicate and airy final Rondo alla Polacca, into which they throw increasing amounts of Polish folksy swagger as it progresses.
That final Rondo alla Polacca is then the link to Chopin's G minor Piano Trio - an early work full of foreshadows of his mature style, and also one in which the pianist gets to properly shine having largely been responsible for the orchestral support in the Beethoven. Osokins thoroughly shines too, and especially enjoyably for the finale where he grabs from the off with his crisp silvery tone, dancing lilt, and seductively rubato'd push and pull, before providing the swirling virtuosic effervescence underpinning their joyous accelerando to the finish line. © Charlotte Gardner/Qobuz
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发表于 2025-5-17 07:51:41