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艺术家：木星弦乐四重奏、贾斯珀弦乐四重奏
专辑名称：门德尔松/维斯康蒂/戈利霍夫
发行年份：2021年
厂牌：Marquis Classics
音乐类型：古典音乐
音质：FLAC无损/24比特-96千赫兹FLAC
总时长：54分46秒
总大小：258/990兆字节
网站：专辑预览
曲目列表
01. 降E大调八重奏，作品20：第一乐章 有活力的中速快板
02. 降E大调八重奏，作品20：第二乐章 行板
03. 降E大调八重奏，作品20：第三乐章 谐谑曲 极轻快的快板
04. 降E大调八重奏，作品20：第四乐章 急板
05. 《永恒的气息》
06. 《最后的回合》：第一乐章 活跃的，急迫的
07. 《最后的回合》：第二乐章 《天使之死》
由贾斯珀和木星弦乐四重奏录制的新双弦乐四重奏专辑是一件美妙的作品。正如 liner notes 中所描述的，这些四重奏由兄弟姐妹、配偶和长期朋友组成：“有兄弟姐妹——贾斯珀四重奏的J·弗赖沃格尔是木星四重奏成员梅格和莉兹·弗赖沃格尔的弟弟；有配偶——雷切尔·亨德森·弗赖沃格尔和J在贾斯珀四重奏中是夫妻，丹尼尔·麦克多诺和梅格在木星四重奏中是夫妻；还有长期朋友——纳尔逊·李和凯伦·金在波士顿上大学时是室友，他们和山姆·昆塔尔都是所有四重奏成员的长久朋友和同事，关系可以追溯到二十年前。”
这种建立在数十年家庭和友谊纽带之上的亲密关系，在演奏者们匹配彼此的音色、颤音和乐句处理的方式中显而易见。听他们演奏就像听兄弟姐妹一起唱歌：多个声音，一个音色。这在丹·维斯康蒂2011年的作品《永恒的气息》中表现得最为明显。《永恒的气息》是由弗赖沃格尔的父母比尔和玛吉委托创作的，以庆祝他们的40周年结婚纪念日。弗赖沃格尔一家希望这部作品能包括他们所有的孩子和孩子的配偶，其中除了一人之外都是职业音乐家。用维斯康蒂的话来说，“《永恒的气息》基于一个简单的‘呼吸’乐句，随着不断扩展的旋律在整个乐团中传递，这个乐句变得越来越长、越来越复杂。生命的气息从一代传到下一代的想法，以及通过婚姻实现的家庭扩展，激发了最初类似圣歌材料的发展。伴随着标记每个音乐‘呼吸’起伏的持续音，旋律在回荡且炽热的氛围中移动，直到每个人都加入进来，演奏相同但带有各自个性的重叠乐句。”
这部为两个四重奏和一个 shruti box（手风琴的一种）创作的作品萦绕心头。有趣的和声并不总是得到解决，而是像水彩画一样渗透到下一个乐句中；音符组像电影中的万花筒一样移动。小提琴彼此之间微秒级重复乐句所产生的延迟踏板效果特别美妙。演奏者们出色地匹配了他们的音色，情感细节被组织到最细微的颤音暗示中。作品强度逐渐增强，达到一个华丽的高潮，然后所有声音分裂并像啁啾的鸟儿一样以和声回归，最后融入一个空灵的织体持续音来结束。
奥斯瓦尔多·戈利霍夫1996年的作品《最后的回合》则完全是另一种风格。这部作品是为向阿根廷探戈作曲家阿斯托尔·皮亚佐拉致敬而创作的，具有探戈风格且充满激情。为九重奏（两个四重奏加一把低音提琴，由低音提琴手迈克尔·卡梅隆演奏）创作，第一乐章逐渐 build 到高音弦乐对之间狂热的呼应，然后在音域、速度和力度上分解，只是为了重新构建到戏剧性的高潮。该乐章以滑音结束，并直接进入第二乐章。这个乐章以一个缓慢、抒情的旋律为特色，在高音声部之间传递，而低音声部则保持着催眠般的拨奏节奏。中间部分变得浪漫，充满丰富的和声、浓郁的中提琴音色和持续的低音心跳。即使是自由速度的部分也感觉有支撑，与维斯康蒂作品的飘逸流畅形成对比。
专辑中最熟悉的作品是费利克斯·门德尔松的降E大调八重奏，作品20，创作于门德尔松年仅十六岁时。这部作品充满纯粹的喜悦，贾斯珀和木星四重奏的成员们的演奏也不辜负期望，为每个乐句注入乐观、优雅和活力。第一乐章在力度上感觉非常平衡：无论哪个声部承载旋律，旋律都从未被压倒，同时伴奏声部既引人入胜又充满活力。空灵的第二乐章在小调开头几小节中类似风笛的低音弦乐和温暖如天使般的高音弦乐之间形成了奇妙的音色对比。第三乐章轻快流畅且极其精准；当一个高亢的乐句从冒泡的织体中浮现并漂浮在表面时，这些时刻特别出色。第四乐章在贾斯珀和木星成员们将注意力吸引到多个声部 unison 或八度演奏旋律时达到最佳状态，让 wicked 快速的伴奏八分音符像充满活力的蒸汽一样沸腾。来自亨德尔《弥赛亚》的引语（“他将永远统治”）以一种 playful 的精神呈现，但又不会从乐章的整体画面中转移焦点。
Artist: Jupiter String Quartet, Jasper String Quartet
Title: Mendelssohn/Visconti/Golijov
Year Of Release: 2021
Label: Marquis Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 00:54:46
Total Size: 258 / 990 mb
WebSite: Album Preview
Tracklist
01. Octet in E-flat Major, Op. 20: I. Allegro Moderato ma con fuoco
02. Octet in E-flat Major, Op. 20: II. Andante
03. Octet in E-flat Major, Op. 20: III. Scherzo Allegro leggierissimo
04. Octet in E-flat Major, Op. 20: IV. Presto
05. Eternal Breath
06. Last Round: I Movido, urgente
07. Last Round: II. Muertes del Angel
The new double string quartet album recorded by the Jasper and Jupiter string quartets is a thing of beauty. The quartets are made up of siblings, spouses, and longtime friends, as described in liner notes: “There are siblings—J Freivogel from the Jaspers is the younger brother of Jupiter members Meg and Liz Freivogel; spouses— Rachel Henderson Freivogel and J are married in the Jaspers, and Daniel McDonough and Meg are married in the Jupiters; and longtime friends—Nelson Lee and Karen Kim were apartment mates while they were college students in Boston, and both they and Sam Quintal are enduring friends and colleagues of all of the quartets’ members, with relationships stretching back two decades.”
This closeness, built on bonds of family and friendship over decades, is evident in the way the players match each other’s tone, vibrato, and phrasing. Listening to them play is like listening to siblings singing together: multiple voices, one sound. This is the most evident in the 2011 piece, “Eternal Breath,” by Dan Visconti. “Eternal Breath” was commissioned by the Freivogel parents, Bill and Margie, to celebrate their 40th wedding anniversary. The Freivogels wished the piece to include all their children and their children’s spouses, all but one of which are professional musicians. In Visconti’s words, “Eternal Breath is based on a simple “breathing” phrase, which becomes longer and more elaborate as the expanding melody is passed around the entire ensemble. The idea of the breath of life passed from one generation to the next, as well as the expansion of the family through marriage inspired the development of the initial, chant-like material. Accompanied by a drone which marks the rise and fall of each musical “breath”, the melody moves through a reverberant and glowing atmosphere until everyone joins in playing the same overlapping phrase, inflected with their own individuality.”
The piece, scored for two quartets and a shruti box (a cousin of an accordion), is haunting. Interesting harmonies do not always resolve, but rather bleed like watercolors into the next phrase; groups of notes shift like a cinematic kaleidoscope. A delay pedal effect created by violins repeating phrases microseconds behind one another is particularly lovely. The performers match their tones phenomenally, and emotive details are organized down to the merest hint of vibrato. The piece builds in intensity to a gorgeous climax, then all the voices splinter and come back like chirping birds in harmonics before melting into an airy textured drone to finish.
Osvaldo Golijov’s piece, “Last Round” (1996), is a different flavor entirely. Written as tribute to the Argentinian tango composer Astor Piazzola, “Last Round” is tango-esque and full of passion. Scored for a nonet (two quartets plus a double bass, performed by bassist Michael Cameron), the first movement builds to a frenzied call and response between upper string pairs before breaking down in register, tempo, and dynamics, only to rebuild to the dramatic climax. The movement ends with a glissando and moves directly into the second movement. This movement features a slow, lyrical, melody that moves around the upper voices while the lower voices keep a hypnotic pizzicato pulse. The middle section waxes romantic, full of lush harmonies, rich violas, and a persistent bass heartbeat. Even rubato sections feel anchored, contrasting with the floating fluidness of the Visconti.
The most familiar piece on the album is Felix Mendelssohn’s Octet in E-flat Major, Op. 20, composed when Mendelssohn was just sixteen years old. This piece is pure joy, and the performances of the Jasper and Jupiter Quartet members rise to the occasion, infusing each phrase with optimism, elegance, and energy. The first movement feels wonderfully balanced, dynamically: the melody is never overpowered no matter which voice carries it, while at the same time the accompanying voices are engaging and vivacious. The ethereal second movement features a marvelous contrast in tone between the bagpipe-like lower strings in the minor opening measures and the upper strings, which are warm and angelic. The third movement is effervescent and effortless while extremely precise; moments where a soaring phrase comes out of the bubbling texture to float on the surface are particularly fine. The fourth movement is at its best when the Jasper and Jupiter members draw attention to multiple voices playing the melody in unison or octaves, letting the wickedly fast accompanying eighth notes burble away like energetic steam. The quote from Handel’s Messiah (“And He shall reign forever and ever”) is presented with a playful spirit, but not in a way that draws focus from the larger picture of the movement.
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