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艺术家：威廉敏娜·史密斯
标题：佩尔·诺尔加德与波尔·鲁德斯：大提琴独奏作品
发行年份：2021年
厂牌：Ondine
流派：古典音乐
音质：无损FLAC（镜像+.cue、log、封面）24位-96.0千赫兹FLAC+小册子
总时长：01小时02分21秒
总大小：256兆字节/1.01吉字节
网站：专辑预览
曲目列表
01. 第一大提琴奏鸣曲：第一乐章 缓慢但宽广 - 不过分的快板
02. 第一大提琴奏鸣曲：第二乐章 宁静地
03. 第一大提琴奏鸣曲：第三乐章 有活力的快板
04. 第二大提琴奏鸣曲《双时性》：第一乐章 私密独白
05. 第二大提琴奏鸣曲《双时性》：第二乐章 舞台独白
06. 第三大提琴奏鸣曲《何为言语！》：第一乐章 祈祷I
07. 第三大提琴奏鸣曲《何为言语！》：第二乐章 呐喊
08. 第三大提琴奏鸣曲《何为言语！》：第三乐章 祈祷II
09. 炫技练习曲：第一首 序曲
10. 炫技练习曲：第二首 宣叙调
11. 炫技练习曲：第三首 小夜曲I
12. 炫技练习曲：第四首 杂烩曲
13. 炫技练习曲：第五首 练习曲
14. 炫技练习曲：第六首 间奏曲
15. 炫技练习曲：第七首 幻想曲
16. 炫技练习曲：第八首 小夜曲II
17. 炫技练习曲：第九首 终曲.古典变奏曲
18. 炫技练习曲：第十首 《武装的人》
专辑简介
当美国大提琴家威廉敏娜·史密斯2019年2月发行首张独奏专辑（收录萨洛宁与萨里亚霍作品）时，其对现代音乐的热忱与演奏技巧曾获赞誉，但部分作品的音乐性引发争议。而这张专辑则聚焦两位备受推崇的作曲家——佩尔·诺尔加德与波尔·鲁德斯的创作，展现了更具深度的音乐探索。
# 诺尔加德的大提琴奏鸣曲系列
诺尔加德的三首奏鸣曲延续了他标志性的抒情性与现代和声融合的风格。第一奏鸣曲以“对抗性复调”为核心：低音弦的节奏型与高音区旋律形成张力，如第一乐章尾声用“弯曲音”（Bent Notes）制造威胁性音色；第二乐章的微分音处理似泣诉独白，而第三乐章的切分节奏则打破传统律动。第二奏鸣曲《双时性》以“私密独白”的哀婉主题开篇，第二乐章“舞台独白”用跳跃音程与扭曲音调模拟戏剧张力，八音符主题的重复强化了宿命感。第三奏鸣曲《何为言语！》以“祈祷-呐喊-祈祷”的结构，将宗教性冥想与现代音乐的尖锐对抗并置，尤其是第二乐章“呐喊”中快速音群与粗粝音色的碰撞。
# 鲁德斯的《炫技练习曲》
这套十首练习曲展现了鲁德斯对大提琴极限技巧的探索：从序曲的快速音阶到终曲《武装的人》的古典变奏，贯穿多元风格。其中《杂烩曲》拼贴爵士与民间旋律，《幻想曲》以泛音与拨奏制造空灵音效，而《宣叙调》则通过自由节奏模拟语言韵律。但演奏争议集中于此：史密斯的演绎被指过度追求“效果化”（如粗糙音色与夸张强弱对比），相较丹麦大提琴家莫滕·泽森的版本，缺乏对音乐线条的梳理，致使部分段落流于炫技而失却 musicality。
# 演奏与录音评价
史密斯的技术掌控力无可置疑，低音区的浑厚音色与高音区的穿透力在诺尔加德作品中尤为突出。但鲁德斯部分的处理引发乐评分歧：其对“新奇效果”的沉迷被指偏离原作意图。录音捕捉了大提琴的细微动态，24bit/96kHz规格清晰呈现拨奏的颗粒感与弓弦摩擦的质感，教堂声场为诺尔加德的冥想性段落增添空间回响，但鲁德斯作品的节奏棱角在过度渲染下略显失衡。
作为北欧现代音乐的缩影，这张专辑既展现了诺尔加德“无限序列”理论在弦乐中的诗意表达，也暴露了当代演奏者在处理先锋作品时“技术”与“音乐性”的平衡难题。
Artist: Wilhelmina Smith
Title: Per Nørgård & Poul Ruders: Works for Solo Cello
Year Of Release: 2021
Label: Ondine
Genre: Classical
Quality: flac lossless (image +.cue, log, artwork) flac 24bits - 96.0kHz +Booklet
Total Time: 01:02:21
Total Size: 256 mb / 1.01 gb
WebSite: Album Preview
Tracklist
01. Cello Sonata No. 1: I. Lento ma espansivo - Allegro non troppo
02. Cello Sonata No. 1: II. Tranquillo
03. Cello Sonata No. 1: III. Allegro con brio
04. Cello Sonata No. 2 "In due tempi": I. Solo intimo
05. Cello Sonata No. 2 "In due tempi": II. Solo in scèna
06. Cello Sonata No. 3 "What - Is the Word!": I. Prayer I
07. Cello Sonata No. 3 "What - Is the Word!": II. Outcry
08. Cello Sonata No. 3 "What - Is the Word!": III. Prayer II
09. Bravourstudien: I. Overture
10. Bravourstudien: II. Recitative
11. Bravourstudien: III. Serenade I
12. Bravourstudien: IV. Potpourri
13. Bravourstudien: V. Etude
14. Bravourstudien: VI. Intermezzo
15. Bravourstudien: VII. Fantasia
16. Bravourstudien: VIII. Serenade II
17. Bravourstudien: IX. Finale. Variation classique
18. Bravourstudien: X. L'homme armé
Wilhelmina Smith - Per Nørgård & Poul Ruders: Works for Solo Cello (2021) [Hi-Res]
When American cellist Wilhelmina Smith’s earlier CD of solo cello works by Esa-Pekka Salonen and Kaija Sariaaho came out in February 2019, I wrote a review in which I praised her for her deep commitment to modern music as well as for her playing ability but had some misgivings about much of the music contained therein. Happily, I had no such qualms about this CD since it is of music by two composers I admire, Per Nørgård and Poul Ruders.
Nørgård’s solo cello sonatas are typical of his writing style, moody and emotional, using an essentially lyrical approach with some modern harmonies. Here, the solo cellist accompanies itself with counterpoint and rhythmic figures played on the lower strings, to interesting effect, as the music grows from its slow beginning into something more rhythmic and almost menacing in tone. Smith has impeccable control of her instrument as well as a deep, rich tone which she displays throughout. Nørgård also plays with pitch, including some out-of-tonality notes to add interest. The figures used in the latter part of the first movement are particularly interesting, employing “bent” notes in the upper line against a strong motor rhythm in the lower strings.
More note-bending is employed in the second movement, which at times sounds like microtonal music, but once again Nørgård never does anything for cheap effect; everything has a musical reason and moves the monologue along. After some upper-range solo statements, the last movement also sets up a rhythmic figure which, this time, is broken up to include some syncopated figures in the lower register.
The first movement of the second sonata is titled “Solo intimo,” and here Nørgård creates a relatively tonal, sad-sounding theme played with a light vibrato. Here the composer develops his theme slowly and deliberately, even including some brief pauses in the musical progression. The second movement, though more energetic in tempo, can by no means be described as “lively”; the odd melodic line, which constantly leaps up and down and includes some purposely distorted tones, sounds heavy and portentous. A bit later on, the note spacing in the top line becomes even wider, making the thematic material sound as if it were jumping around. In the second movement, he creates an eight-note theme out of these jumping notes that he repeats several times before letting it go.
The third sonata opens with a “Prayer,” played lovingly by Smith, but then the music becomes edgier and faster. Interestingly, Ruders’ Bravour-Studies opens with a similar edgy motif which is continued as the cellist plays some edgy close chords with a purposely rough tone. Some of this, I felt, was written more for effect than for musical reasons.
Or is it Smith’s fault? I compared this performance to one by cellist Morten Zeuthen on Dacapo and found that he played the score more like music and less like effects. So the cat is out of the bag! For all her great technique, Smith has very little concept of musical style. She revels in the novelty of the pieces she plays, but unless the audience is familiar with the music she is performing—and most, including myself, would not know unless we compared her to someone else—they wouldn’t know that this music can be made to sound more attractive than how she plays it. Just to be sure, I checked out Zeuthen’s recording of the Nørgård Solo Sonata No. 1, and yet again I found that I enjoyed the music much better in his reading, so much so that it almost sounds like an entirely different piece.
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