[无损音乐] Peter Schmidl -《竖笛的艺术》(The Art of the Clarinet)[FLAC][驴链]

--> 专辑英文名: The Art of the Clarinet
专辑中文名: 竖笛的艺术
艺术家: Peter Schmidl
古典类型: 全集作品
资源格式: FLAC
发行时间: 2003年04月14日
地区: 美国
语言: 英语
简介:


专辑介绍:

阿尔班·贝尔格（Alban Berg）（1885-1935），勋伯格高徒，与勋伯格、韦伯恩开创“新维也纳派”，表现主义音乐的代表人物。他在作曲技法上的探索为整个20世纪音乐带来了一场革命。

贝尔格一生都住在维也纳，他出生于一个没落贵族家庭。1904年开始，贝尔格跟随勋伯格学习，此前他几乎没有受过正规音乐培训。学习四年后，他写了作品第一号，单乐章的《钢琴奏鸣曲》。虽然作品的黯淡色调和浪漫主义晚期的忧郁风格在一定程度上受勋伯格和马勒的影响，但作品的丰富素材和无比自信无疑是大师手笔。1910年的《弦乐四重奏》是贝尔格在勋伯格门下创作的最后一部作品，随后贝尔格就彻底背弃了一部作品必须具有一个主调的调性原则。1911年他与Helene Nahowski结婚，这一时期的音乐受到了他们爱情的影响。

1915到1917年间贝尔格在奥地利服兵役，并于1917到1920年间创作了杰作——歌剧《沃采克》（基于格奥尔格•毕希纳的剧作）。尽管音响上极其复杂，但他对士兵沃采克充满同情与人性的描绘，强烈的戏剧张力几乎令人无法承受，深深地感染了观众。

1925年贝尔格完成为钢琴、小提琴和13件木管乐器而作的《室内协奏曲》，1935年贝尔格受委约创作《小提琴协奏曲》，纪念马勒遗孀阿尔玛与建筑师瓦尔特•格罗皮乌斯（Walter Gropius）的女儿玛侬。贝尔格还将巴赫众赞歌《我心满足》(Es ist genug)写入最后乐章，形成动人的挽歌，作品很快完成。但是他再也听不到自己作品的演出：1935年12月，贝尔格死于败血症，《小提琴协奏曲》成了他的安魂曲。

贝尔格重要作品还包括《璐璐》、《抒情组曲》等。
http://www.clarinet.cn/thread-6256-1-1.html

出自专辑：单簧管的艺术（THE ART OF THE CLARINET）
发行时间：14/03/2003
所属厂牌：NAXOS
作曲家：阿尔班·贝尔格/Berg, Alban
演奏家：彼得·施米德尔/Schmidl, Peter ; 马多卡·伊努依/Inui, Madoka

Wolfgang Schulz, Flute & Alto Flute
Matthias Schulz, Flute
Peter Schmidl, Clarinet
Madoka Inui, Piano

Original Release Date: April 14, 2003
Label: Naxos
Copyright: © 2003 Naxos
Total Length: 1:08:13
Genres: Classical
ASIN: B000QQUAGM

This CD presents a successful compilation of music that would make for a great concert programme. Opening with the charming Beethoven trio and its most profoundly moving slow movement, the mood is hitched up a few notches to a soulful yet restrained work by an aged Brahms. What follows is a remote, atonal set of four pieces by Berg and for a light-spirited ending, some humorous Mendelssohn tunes.

Beethoven, Brahms and Mendelssohn were all inspired directly by clarinettists, and the CD notes on this topic are certainly worth the read. Especially amusing is the story accompanying the composition of Mendelssohn’s Concert Pieces – in return for the culinary hospitality of the Baermann family, whose son was a virtuoso basset-horn player…"While the Baermanns worked in the kitchen, Mendelssohn completed his composition in the next room".

The Brahms trio is, for me, the highlight of the CD. Directly inspired by the playing of the Meiningen court orchestra principal clarinettist, Richard Mühlfeld, Brahms composed this trio along with two clarinet sonatas and a clarinet quintet. The clarinet and cello are the instruments closest to the human voice, and in Brahms’ trio, this intimacy is heightened by a score that treats every one of the instruments on equal footing. It is, after all, a yearning cello solo that opens the first movement and sets the tone, thereafter providing the driving thread that stitches together the ever-shifting moods. The connection between the clarinet and cello is never more tender than in the Andante grazioso about which the musicologist and friend of Brahms, Eusebius Mandyczewski, said "the cello and clarinet sound as if they were in love".

The Czechoslovakian clarinettist, Peter Schmidl, is an undoubtedly accomplished musician. He is the current principal clarinettist of the Vienna Philharmonic Orchestra and his solo career is no less impressive. It is therefore a shame that he is let down by a timid piano and cello who seem almost frightened of him. Most obviously in the Brahms trio – my favourite! – where all the instruments are conceived with equal importance, the cello in particular fails to sing out and opts for a ‘safe’ rendition that treads very carefully and refuses to assert its voice.

Even though the Hyperion recording, with Thea King (clarinet), Katrina Georgian (cello) and Clifford Benson (piano), is less accurate, their performance has more soul, and the cello and piano a greater presence that gives an altogether more emotional and involving interpretation.

Neither do I find the Berg item totally satisfying. Dedicated to his former teacher Arnold Schönberg, Berg denied his Romantic inclination and composed these four pieces in strictly atonal style. I am not suggesting that music that sits with difficulty on the ears need necessarily be played in a difficult manner, however I find this recording too delicately executed. A more suitable alternative, for my tastes, is a recording made by Herbert Tichman (clarinet) and Ruth Budnerich (piano) that is almost uncomfortably vulnerable with its harsh, unforgiving acoustic and piercing clarinet tone. Not as polished, perhaps, but certainly with an edge.

Ending on the Mendelssohn buffoonery – music that belongs to the dramas of early silent movies! – makes for a nice, innocent rescue from the esoteric territory of the Berg pieces.

In summation: a safe recording of a wonderful run of pieces. An enjoyable listen.

Aline Nassif

最近在Naxos的发行目录中，赫然看到以乐器为系列的录音。从「竖笛的艺术」、「维也纳号的艺术」、「中提琴的艺术」、「大提琴的艺术」到本片「长笛的艺术」一系列以乐器为主题，选择维也纳地区的知名演奏家搭配日本钢琴家Madoka Inui演奏，详细地介绍每个乐器动听的演出、甚至在内页中请专业人士讲解乐器的运作方式。这对搞不清楚管弦乐团中每个乐器确实音色的爱乐听眾而言，的确是个很棒的入门方式。

常常看到有些爱乐朋友很喜欢听交响乐，甚至一入门就喜欢从气势最磅礡的交响作品入手。但是对於乐团中每种乐器发出的音色却不知所以然。常常长笛跟竖笛搞混、双簧管跟巴松管傻傻分不清楚。法国号、长号或是小号也搞不清楚谁是谁。当然不知其所以然有其中的乐趣存在，但是知其所以然后得到的乐趣是更宽广无边的。
Wolfgang Schulz

当初看到Naxos新片发行网页中赫然见到舒兹的名字藏在其中。心中不免好奇「堂堂一个维也纳爱乐的长笛首席怎么在Naxos发片？」常看维也纳新年音乐会或是维也纳爱乐演出的朋友对舒兹的脸庞一定不陌生。这位长笛手从1983年开始坐在维也纳爱乐长笛首席的位置上，一坐就是二十多年。指挥帝王卡拉扬曾经这样讚扬舒兹：「有了舒兹管乐的声音马上变得不一样。」这样的讚扬或许有点夸张，但在这张专辑中多少可以得到一点印证。

刚拿到片子其实我最感兴趣的是普朗克的长笛奏鸣曲。普朗克为木管五重奏当中的五把乐器各写了一首奏鸣曲。其中长笛奏鸣曲算是知名度与能见度最高的一首。怪异的旋律结构加上古怪的和声，让这首曲子从一开始就带有一种神秘的色彩。迥异於传统奏鸣曲式的结构，普朗克这首奏鸣曲演奏起来也不过十一分鐘上下，但是飆高的音域加上折腾人的指法，的确折磨了许多长笛演奏者。

不过就像笔者讚扬帕胡德把曲子变得简单一样，舒兹也有著同样的魔力。似乎这曲子所有的难处在他手上就像吹冷气一样舒凉自然，让听者轻鬆愜意地悠扬在普朗克虚构出来的诡异童话当中。舒兹使用黄金长笛的特色在这张专辑中也完美地被展现出来，有别於银长笛散发出来较为宽阔但凝聚力较差的特色，黄金长笛的音色较为颗粒状，凝聚度也高出许多。两者各有不同的支持者，在不同的场合也有不同的需要。

整张专辑的选曲上十分特别，除了常听到的的浪漫时期作品以外，还收录了罕见的法朗赛写给长笛与中音长笛的「鸚鵡对话」以及圣桑写给长笛、竖笛和钢琴的「塔蓝特舞」并且邀请到「竖笛的艺术」当中的演奏家Peter Schmidl跨刀助阵。Schmid也是位合奏高手，在塔蓝特舞当中，他能够配合长笛的运舌特性，做出拟似长笛的articulation与之融合在一起。这对簧片乐器而言是十分困难的地方。

而在古典曲目的部分则选择了莫札特的D大调双钢琴奏鸣曲，不过在这里选择的版本不是原本的双钢琴演奏，而是改编给双长笛与钢琴相当於三重奏的编制，也算是这张专辑的卖点之一。除了欣赏沃夫冈‧舒兹精湛的演出以外，马修‧舒兹的合奏同等精彩。（两者不是父子的话想必有亲戚关係吧？）两者水乳交融的音色与音準，让我对於音準不易控制的长笛有了另一面合奏的看法。而库劳的三重奏对於少听长笛音乐的朋友来说也是罕见的作曲家。不过说起库劳，若说贝多芬之於钢琴演奏推进的程度，那么库劳便是之於长笛演奏的发展有很大的贡献。甚至有人以「长笛的贝多芬」称许之。

Naxos这个系列与ORF合作录音，至今已经出到第五集。希望未来可以做出更多类似的计画，不但富有教育意义如此完美的演奏加阵容真让人不敢奢望如此低廉的价格可以听到如此美妙的乐音。况且录音工程似乎也是外包，因此在录音水準上也有别於Naxos以往给人低廉价格的水準。

5.0 out of 5 stars Classic Chamber Music with Clarinet May 22, 2003
By J Scott Morrison HALL OF FAMETOP 100 REVIEWERVINE™ VOICE
Format:Audio CD
I have often thought that if I took up a wind instrument, it would be the clarinet. It is possibly the most perfectly constructed and smoothly functioning of all the wind instruments. It has an almost four-octave range (by virtue of it being overblown at the twelfth, not the octave like all the other orchestral winds), a very wide dynamic range from the merest whisper to a clarion tone (in fact, the term 'clarion' and the term 'clarinet' come from the same root), incredible flexibility (closest of any wind to that of the violin), mimics the human voice in its range and sound and, finally, has the smoothest most ingratiating tone (as Mike Myers's 'Linda Richman' would say, 'Like buttah!'). [Please don't be mad at me, all you oboists, bassoonists and flutists out there!]

Here we have core clarinet chamber music repertoire:

Beethoven: Trio in B flat, Op. 11
Brahms: Trio in A minor, Op. 114
Berg: Four Pieces for Clarinet and Piano, Op. 5
Mendelssohn: Konzertstücke 1 & 2 for Clarinet, Basset-Horn and Piano, Opp. 113 & 114

The clarinetist is one of the best - Peter Schmidl, principal clarinet of the Vienna Philharmonic. His colleagues - Madoka Inui, piano; Teodora Mileva, cello; and Pierre Pichler, basset-horn, are fully his equals. The playing is suave, the ensemble tightly coordinated and the recorded sound clear and life-like. This is 68 minutes of unalloyed beauty. Naxos has come up with another winner.

The jewel box liner and booklet have the designation 'Philharmonic Soloists' emblazoned on them. Can we hope that various other of the Vienna Philharmonic's principals will have similar discs in the future?

Recommended.

Scott Morrison



专辑曲目:

Clarinet Trio in B flat major, Op. 11, ssenhauer", "Piano Trio No. 4"
01. I. Allegro con brio - 9:07
02. II. Adagio - 4:47
03. III. Allegretto - 6:42

Trio in A minor, Op. 114
04. I. Allegro - 7:23
05. II. Adagio - 7:13
06. III. Andante grazioso - 4:27
07. IV. Allegro - 4:28

4 Stucke, Op. 5 (more info)
08. I. No. 1 - 1:23
09. II. No. 2 - 1:53
10. III. No. 3 - 1:03
11. IV. No. 4 - 3:17

Concert Piece in F minor, Op. 113
12. I. Allegro con fuoco - 3:02
13. II. Andante - 2:54
14. III. Presto - 2:24

Concert Piece in D minor, Op. 114
15. I. Presto - 2:10
16. II. Andante - 3:00
17. III. Allegro grazioso - 3:00

ed2k://|file|Peter.Schmidl.-.%5BThe.Art.of.the.Clarinet%5D.%E4%B8%93%E8%BE%91.%28Flac%29.flac|247439818|6bc4c0b9cb54c6df3bf2535aee345ffd|h=xoqbznb3nmh3xqhkjnrwpez3qzgxduxh|/
ed2k://|file|Peter.Schmidl.-.%5BThe.Art.of.the.Clarinet%5D.%E4%B8%93%E8%BE%91.%28Flac%29.cue|2419|6d5f6bb1ae5dc9823e977c852ce6593f|h=d5qkdwy2svoqyvbbvwbuhjc2tozzyew7|/