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艺术家：亚历克·弗兰克-吉米尔（Alec Frank-Gemmill）、丹尼尔·格里姆伍德（Daniel Grimwood）、本杰明·马奎斯·吉尔摩（Benjamin Marquise Gilmore）
作品名称：亚历克·弗兰克-吉米尔 勃拉姆斯室内乐
发行年份：2020年
厂牌：BIS
流派：古典音乐
音质：FLAC（分轨）/24位-96kHz FLAC（分轨+小册子）
总时长：59分43秒
总大小：208兆字节 / 998兆字节
网站：专辑预览
曲目列表
01. 《F-A-E奏鸣曲》：第三乐章 c小调谐谑曲，WoO 2（S. Smith改编为圆号与钢琴版）（5:49）
02. e小调第一大提琴奏鸣曲，作品38号（D. Grimwood改编为圆号与钢琴版）：I. 不过分的快板（14:03）
03. e小调第一大提琴奏鸣曲，作品38号（D. Grimwood改编为圆号与钢琴版）：II. 小快板（近似小步舞曲）（5:30）
04. e小调第一大提琴奏鸣曲，作品38号（D. Grimwood改编为圆号与钢琴版）：III. 快板（6:50）
05. 降E大调圆号三重奏，作品40号：I. 行板（7:26）
06. 降E大调圆号三重奏，作品40号：II. 谐谑曲 快板（7:05）
07. 降E大调圆号三重奏，作品40号：III. 忧伤的柔板（6:34）
08. 降E大调圆号三重奏，作品40号：IV. 终曲 有活力的快板（6:29）
专辑简介
圆号是约翰内斯·勃拉姆斯年轻时随父亲学习的乐器之一（其父为职业圆号手）。从他在交响曲中为圆号谱写的华丽独奏段落，可清晰窥见他对这件乐器的偏爱与熟悉。而他为纪念母亲克里斯蒂安娜创作的《圆号三重奏》，更将圆号置于核心地位。尽管如此，勃拉姆斯再未创作其他包含圆号的室内乐作品——这一“疏漏”至今令圆号演奏家们深感遗憾。
继两张在BIS备受赞誉的专辑后，圆号演奏家亚历克·弗兰克-吉米尔决定弥补这一空白，携手钢琴家丹尼尔·格里姆伍德与小提琴家本杰明·马奎斯·吉尔摩，带来这张别具匠心的录音。专辑自然收录了《降E大调圆号三重奏》，且弗兰克-吉米尔特别选用奥布里·布莱恩（Aubrey Brain）在1933年传奇录音中使用的同款圆号演奏。
专辑开篇是两首分别为小提琴与大提琴创作的改编作品。弗兰克-吉米尔在专辑内页文字中探讨了改编曲这一有时颇具争议的话题，并阐释了选曲初衷。在勃拉姆斯为《F-A-E奏鸣曲》（另包含舒曼与阿尔伯特·迪特里希的乐章）所作的谐谑曲中，他发现作品的织体本身就充满圆号的号角性动机，而疾驰的6/8拍主题更让他联想到《圆号三重奏》的末乐章。
为了纳入奏鸣曲体裁，弗兰克-吉米尔选定e小调《第一大提琴奏鸣曲》（作品38号）作为最适合圆号改编的曲目，并与改编者格里姆伍德决定将其移调至g小调。通过他们的努力，我们得以聆听一场圆号演奏家——乃至所有乐迷——曾只能在梦中想象的勃拉姆斯专场：圆号的温暖音色与钢琴、小提琴交织，既忠实于原作的情感内核，又以全新的配器组合揭示了勃拉姆斯音乐中未被充分探索的色彩维度，堪称对这位德奥大师的一次致敬与再创造。
Artist: Alec Frank-Gemmill, Daniel Grimwood, Benjamin Marquise Gilmore
Title: Brahms Chamber Music
Year Of Release: 2020
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 59:43
Total Size: 208 / 998 MB
WebSite: Album Preview
Tracklist:
01. F-A-E Sonata: III. Scherzo in C Minor, WoO 2 (Transcr. S. Smith for Horn & Piano) (5:49)
02. Cello Sonata No. 1 in E Minor, Op. 38 (Arr. D. Grimwood for Horn & Piano): I. Allegro ma non troppo (14:03)
03. Cello Sonata No. 1 in E Minor, Op. 38 (Arr. D. Grimwood for Horn & Piano): II. Allegretto quasi menuetto (5:30)
04. Cello Sonata No. 1 in E Minor, Op. 38 (Arr. D. Grimwood for Horn & Piano): III. Allegro (6:50)
05. Horn Trio in E-Flat Major, Op. 40: I. Andante (7:26)
06. Horn Trio in E-Flat Major, Op. 40: II. Scherzo. Allegro (7:05)
07. Horn Trio in E-Flat Major, Op. 40: III. Adagio mesto (6:34)
08. Horn Trio in E-Flat Major, Op. 40: IV. Finale. Allegro con brio (6:29)
The horn was one of the instruments that Johannes Brahms learned in his youth, from his father who played it professionally. His fondness and familiarity with the instrument is clear from the glorious solos that he provided it with in his symphonies, and he gave it pride of place in the Horn Trio that he wrote in memory of his mother Christiane. Even so, he never composed any other chamber work involving the horn – an oversight that horn players have regretted ever since
Following up on two highly acclaimed BIS albums, Alec Frank-Gemmill decided to rectify this, and enlisted the help of pianist Daniel Grimwood and violinist Benjamin Marquise Gilmore. It goes without saying that the resulting recording includes the Horn Trio – which Frank-Gemmill has chosen to perform on the instrument played by Aubrey Brain on his legendary 1933 recording of the work.
But leading up to this are two works originally written for violin and cello respectively. The sometimes controversial subject of transcriptions is discussed by Frank-Gemmill in his liner notes where he also explains his selection of works. In the Scherzo that Brahms wrote as his contribution to the "F-A-E Sonata" (which also included movements by Schumann and Albert Dietrich), he finds that the very fabric of the piece is made up of horn calls, while the galloping 6/8 theme reminds him of the final movement of the Horn Trio.
Wanting to also include a sonata, Frank-Gemmill settled on the E minor Cello Sonata, Op. 38 as the one best suited for the horn, and together with arranger Daniel Grimwood the decision was made to transpose the work a third up, into G minor. Through their efforts, we are able to present a Brahms recital that hornists – and the rest of us – could only dream of.
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发表于 2025-5-18 08:26:27