|
|
艺术家：伦敦巴洛克乐团
专辑名称：J.S.巴赫：三重奏鸣曲（2002年）
发行年份：2002年
厂牌：BIS
音乐类型：古典音乐
音质：24比特-44.1千赫兹FLAC（分轨）/FLAC（镜像+索引文件、日志）
总时长：74分38秒
总大小：688/476兆字节
网站：专辑预览
曲目列表
[01]-[03] F大调三重奏鸣曲，BWV 525
[04]-[06] C小调三重奏鸣曲，BWV 526
[07]-[09] D小调三重奏鸣曲，BWV 527
[10]-[12] E小调三重奏鸣曲，BWV 528
[13]-[15] C大调三重奏鸣曲，BWV 529
[16]-[18] G大调三重奏鸣曲，BWV 530
演奏者：伦敦巴洛克乐团
喜欢伦敦巴洛克乐团1985年在Harmonia Mundi录制的巴赫三重奏鸣曲的乐迷，无需担心这张BIS新专辑会有重复。这次小提琴家理查德·吉尔将现存于手稿中的六首巴赫奏鸣曲BWV 525-530（学术研究表明这些本身就是改编曲）进行了改编，原本是为管风琴而作。与伦敦巴洛克乐团之前的录音不同，吉尔没有加入管乐声部，而是采用了更直接的“经典组合”——两把小提琴和通奏低音。不变的是乐团对巴赫音乐依然洋溢的热情与纯粹的喜悦。
将吉尔改编的BWV 525奏鸣曲与Gyöngyössy-Hadady-Lakatos-Dobozy乐团最近在BMC发行的同样美妙却风格迥异的版本（见Q5061评论）对比，不仅证明了巴赫音乐的多面性与持久生命力，也解释了为何众多音乐家不断回归演绎其作品。首先，伦敦巴洛克乐团使用古小提琴演奏，而G-H-L-D乐团则用现代长笛和双簧管。速度也有所不同，伦敦巴洛克乐团整体偏爱稍快的节奏，尤其是在首尾乐章。这两种大相径庭的演绎同样引人入胜，各有千秋；选择完全取决于你是更喜欢BIS版更清脆明快的演绎，还是BMC版更柔和沉思的管乐诠释。我的建议是两者都不要错过；与此同时，再加上Astrée/Naïve厂牌下Rare Fruits Council奢华而充满张力的录音，就能组成巴赫三重奏鸣曲的天堂三部曲！
BIS的录音一如既往达到发烧级水准。吉尔引人入胜的乐评与他同样富有风格的小提琴演奏，以及资深同僚小提琴家英格丽德·塞弗特、大提琴家查尔斯·梅德拉姆和相对新秀羽管键琴家特伦斯·查尔斯顿的精彩演出相得益彰。堪称佳作！——约翰·格林
Artist: London Baroque
Title: J.S. Bach: Trio Sonatas (2002)
Year Of Release: 2002
Label: BIS
Genre: Classical
Quality: FLAC (tracks) 24bit-44.1kHz / FLAC (image+.cue,log)
Total Time: 74:38
Total Size: 688 / 476 Mb
WebSite: Album Preview
Tracklist:
[01] - [03] Triosonata in F major BWV 525
[04] - [06] Triosonata in C minor BWV 526
[07] - [09] Triosonata in D minor BWV 527
[10] - [12] Triosonata in E minor BWV 528
[13] - [15] Triosonata in C major BWV 529
[16] - [18] Triosonata in G major BWV 530
Performers:
London Baroque
Those who enjoyed the London Baroque's 1985 Harmonia Mundi recording of Bach's trio sonatas needn't worry about duplication on this new BIS offering. This time violinist Richard Gwilt has transcribed six of Bach's sonatas BWV 525-530 that survive in manuscript form for organ (which scholarship has since revealed were transcriptions themselves). Also unlike the London Baroque's previous recording, Gwilt has scored no wind parts in favor of a more straightforward "classic combination" of two violins and continuo. What has not changed is the evident passion and plain joy the group still continues to bring to Bach.
A comparison of Gwilt's transcription of Sonata BWV 525 with the equally lovely though very different recent BMC offering by the Gyöngyössy-Hadady-Lakatos-Dobozy ensemble (see review Q5061) not only testifies to the versatility and durability of Bach's music, it also explains why because of those possibilities so many musicians return to it. First, the London Baroque account is performed on period violins while the G-H-L-D ensemble utilizes a modern flute and oboe. The tempos also vary, with the London Baroque favoring slightly swifter tempos throughout, particularly in the opening and closing movements. Both of these widely differing interpretations are equally captivating and offer much to enjoy; choice will depend strictly on whether you prefer the more crisp-sounding, sprightlier performance on BIS or the gentler, more pensive wind account on BMC. My advice is to not miss out on either; and while you're at it, add the sumptuously diabolical Rare Fruits Council recording on Astrée/Naïve for a trilogy of Bach trio sonata heaven!
BIS's sound is up to its usual audiophile standards. Gwilt's engaging notes are on par with his equally stylish fiddle playing and the shining performances of veteran colleagues violinist Ingrid Seifert, cellist Charles Medlam, and relative newcomer, harpsichordist Terence Charlston. A winner! -- John Greene
|
|
发表于