Rachel Podger, Pavlo Beznosiuk -拉克儿小提琴海顿莫札特协奏曲(Haydn-Mozart Violin Concertos)[SACD-r]

[su_members]

游客，本帖隐藏的内容需要积分高于 1 才可浏览，您当前积分为 0

[/su_members]

注：注册可直接查看福利【ED2K & 百度云盘资源】：）如未提供百度云盘资源的请耐心下载，站长会坚持用骡子做种共享所有提供的资源，并不断将精品网盘化，有特别需要的请去本站论坛求助资源，推荐大家用百度云盘共享。
资源信息：
        专辑英文名: Haydn-Mozart Violin Concertos
专辑中文名: 拉克儿小提琴海顿莫札特协奏曲
艺术家: Rachel Podger, Pavlo Beznosiuk
古典类型: 协奏曲
版本: [SACD-r]
发行时间: 2009年
地区: 美国
语言: 英语
【注】
本资源从网络收集，免费分享！对您有助，是本站最大的荣幸。
禁用于商业用途！如果您喜欢本资源，请耐心下载，ED2K资源需要有人做种，有时冷门资源需挂机等待。有特别需要的请去论坛求助资源，推荐大家用百度云盘共享。
书我要，下载先！ http://www.books51.com/ 祝您开卷有益！
  
概述:

[B]专辑介绍:[/B]
拉克儿.普罗洁 Rachel Podger，出生於英国，在德国的鲁道夫斯坦因音乐学校习音乐，然后再回英国习小提琴，曾在Guildhall学校师事Perry Hart，和多位大师习音乐，后来喜爱上古乐器与音乐，逐而三加古乐团，成为小提琴古乐家，她最喜爱拉奏十七世纪和十八世纪的古乐曲，在1997年她并和古乐指挥家宾诺克合作过演出，她现在是乐坛的顶佳独奏家及演出家，受各地的竞邀不断，本片他拉奏海顿的二首协奏曲，莫札特交响协奏曲，以179年的巴洛克名琴"Pesarinius" Genoa的漂亮声音，使本片的音乐更有韵味，空气感及音乐性完美!
Haydn Violin Cti / Mozart Sinfonia Concertante / Haydn / Mozart / Rachel Podger, Pavlo Beznosiuk, Oae (SACD)
拉克儿小提琴海顿莫札特协奏曲 (SACD)
发行公司：Channel Classics
产品编号：CCSSA29309
发行日期：1900/01/01
媒体形式：SACD
张数：1 张 - 1SACD

Of their type, these are mostly very good performances. Rachel Podger draws a generally sweet tone from her instrument despite the gut strings and period bow; she permits herself sufficient vibrato where necessary to give her timbre some body, and she’s very ably accompanied by the Orchestra of the Age of Enlightenment. The two Haydn concertos come off best, particularly the slow movement of the C major concerto, which is all about the violin–after the opening the entire movement is an aria for the soloist atop simple pizzicato chords. The Mozart is more problematic, not so much because of Podger, but because of Beznosiuk’s occasionally sour-toned viola, particularly in the first movement. This makes passages where the two soloists play together less than ideally alluring, and makes the slow movement less moving that it should be. Sonically, as so often from this label, the engineering is absolutely state of the art, and a joy all by itself.
That said, some four decades into this alleged authenticity business, enough is enough. Yes, Podger manages a decent tone, but compared to the best traditional performances she still sounds effortful. Her registers aren’t entirely even (especially evident when moving into and out of the instrument’s lower range), her ornamentation often sounds timid and routine, her pianissimo phrase-endings sometimes trail off into nothingness, and a beautiful, singing timbre ought not to be an occasional “ornament” but a constant presence. Performers in the Classical period sought these ideals at all times, and if modern instruments and playing techniques helped them to realize them, they would have taken them up with enthusiasm. Indeed, that’s exactly what really happened, isn’t it? The problem is that remedying these defects (for such they are, and at a far deeper level of authenticity than mere issues of “performance practice”) effectively eliminates much of the ballyhooed historicity of the sound. Podger is a good violinist, but it would be very interesting to hear how well she could hold her own against the competition with a normal violin, in this or any other repertoire.
Label: Channel Classics ‎– CCS SA 29309
Format: SACD, Hybrid, Multichannel, Album, DSD
Country: Netherlands
Released: 2009
Genre: Classical
Style: Classical
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Working as I do in one of those Royal highfalutin’ music educational establishments, I’ve become used to receiving commentary on the occasional wobbly heaps of new CDs which arrive and linger on my desk for a day or so. One of the Department of Early Music students immediately fell on ‘the new Rachel Podger’, and told me the story of the special Stradivari instruments used before I’d even had a chance to look at the cover. I’ve played the first fifteen or twenty minutes of this CD more times than I now care to count, merely because that’s the duration of the school run in this rainy autumn season, and hearing the gorgeous opening of the Haydn Violin Concerto in G major I could never bring myself to shove an unsympathetic finger onto the track-skip button and miss out by exploring further, if you get what I mean.
Recordings of Haydn’s violin concerti are not all that common, and my collection has been only fairly recently been provided with the two on this new disc by their inclusion in the marvellous Haydn Complete Symphonies MP3 Edition from Nimbus. With Rainer Küchl as soloist these are fine performances and very well recorded. With a more overtly resonant acoustic they are however not quite as transparent as with this new SACD disc, and Rachel Podger lays into her cadenzas with more gusto, the double-stopping moments 6:48 into the first movement of the Violin Concerto in G major having a wonderful folksy feel. The second Adagio movement is very high quality Haydn indeed, and played here with the utmost sensitivity. I’ve moaned about over-exposed harpsichords in the past, but the continuo is so remote in the energetic final Allegro that it seems to have been banished beyond acceptable bounds. The excellent orchestral strings more than make up for this, but the harpsichord tends to buzz around on the far right rather than contributing much of substance by way of rhythm or harmony. There’s a slightly bumpy edit at 2:08 as well, the beat shifted slightly and delayed by a couple of nano-seconds. Readers should understand we reviewers have to put this sort of thing in just to show we’ve been paying attention, but in fact this has no real impact on what is otherwise a superb recording and performance. While we are on the subject of Haydn I’ll deal with the Violin Concerto in C major, which is another very fine work, the technical demands of which Rachel Podger brushes aside, creating a performance of sheer joyful musicianship and deceptive ease. Podger plays her own Pesarinius violin of 1739 for the two Haydn concerti, and the exquisite high tones of this instrument come across with a marvellously floating, almost ethereal quality at moments throughout the C major concerto. The pizzicato accompaniment of the Adagio, with its shades of Vivaldi, allows the solo line to soar and sing with delightful freedom.
Mozart’s Sinfonia Concertante KV364 is justly famous, and the musicians here are against stiffer competition in the catalogues. This recording does however have a unique selling point, a loan of two Stradivarius instruments from the famous collection of my old Royal highfalutin’ musical institute the Royal Academy of Music in London. The violin is the 1699 Crespi, and Pavlo Beznosiuk plays the Castalbarco viola from ca.1720. This was originally made as a viola d’amore which would have had a flat back. The instrument was later converted into a viola by changing this for a swell back, and adding a heavier Amati head. This kind of messing around would appear to disqualify the instrument from being called a true Stradivarius, but the table of the instrument is still one of the finest examples of Stradivarius’s work, and having recorded KV364 Rachel Podger commented on the special resonance the instrument possesses, especially in the upper registers.
Mozart’s Sinfonia Concertante KV364 has been oft recorded, and the version I’ve been listening to more often than not has been that of Dominika Falger and Johannes Flieder on the Dux label (see review). I like this for its transparent recording and sensitive playing, but this new recording from Podger and Beznosiuk does bring us to a different plane. Both strung with gut strings, the two solo instruments are beautifully matched, and with both Rachel and especially Pavlo being old friends of the Orchestra of the Age of Enlightenment the whole thing has a feel of lightness and chamber-music synergy which oozes warmth and fun in the outer movements. This is helped with the not-huge acoustic of All Saints’ Vicarage, East Finchley, which is more chapel than church in terms of sonic feel; more English country mansion than Salzburg Schloss, but is not to say that this is a lightweight in terms of dynamic contrast. Take the build-up from the anticipatory opening phrases to where everything takes off at 1:48 into the opening movement and you can hear a really well prepared crescendo.
The minor-key centre to this work is of course that wonderful Andante which is played here with utmost intimacy and the most charmingly poignant phrasing. I’ve listened carefully, and am not entirely convinced the tempo of the opening is kept strictly after the entry of the solo violin, at which it seems to slow ever so slightly. This is another very minor point, so I’ll leave it up to the listener to make up their own mind as to whether they agree. My only reason for bringing it up is that I can’t think of many other criticisms. The orchestral balance is nice: the sometimes difficult intonation with the oboes taken with almost entirely poised refinement. The duet cadenza in this movement sounds like a short but soulful conversation or double monologue; both participants reminiscing on a departed friend - united, but each with their own viewpoint.
The only point remaining is that of taste in terms of the sound qualities of the solo instruments. Some listeners, being used to ‘modern’ instruments with bound rather than gut strings, may be less convinced by the difference in tone with the gut strings. These give a rounder sound, with a different kind of buzz in the timbre, and a different kind of projection due to the shifts in harmonics in the spectrum of the sonic signature of each note. I personally quite like this effect, and it fits with the early-music background of the rest of the orchestra, so to suggest it might have been done differently in this recording would be silly. If you are the kind of person who can’t listen to Mozart on a fortepiano then you might possibly turn your nose up at this equivalent in terms of string sound, but if you are the kind of person who can give yourself over to the narrative in the music and the expressive qualities in the playing rather than throwing up barriers, then you will soon become lost in this performance. The question of vibrato also arises on this topic and yes, the soloists here are restrained in its use but in fact rarely use none at all. It’s not the kind of pumped up vibrato you might find if playing high romanticism, but as any good musician will tell you, the music and the instrument both have a way of informing the style of your playing. This isn’t so much ‘authentic’ playing as has become a dirty word in certain circles, but playing which to my mind seeks the core of the music. Whether or not it the listener believes it has been found will be a personal response, but either way I don’t believe inflexible dogma has anything to do with the results in this recording.
Of the last Presto movement of KV364 Podger says “you hear it and you instantly love it”, though of course partially in its context as a reply to that darker central movement. The orchestral violins love it a little less perhaps, being not entirely together around 8 seconds in, but the tempo is quite a blistering one and the most ‘on the edge’ sounding of the whole disc. This makes for exciting listening however and the music doesn’t sound rushed or out of control. The musical ideas are thrown around with all the entertaining abandon one would hope for, and this entire recording and performance is very satisfying indeed.
Channel Classics’ SACD recording for this release is excellent, with wide ranging dynamics, enticingly deep bass, and toothsome treble especially for the soloists. The surround perspective as is usual with this label separates and creates a greater sense of air around the players, without going in for over-the-top sonic effects, and the straight stereo mix also works very well indeed. With the lean and flexible spirit of an excellent orchestra, top notch solo playing and some of the finest music the classical era has to offer, for what more could a person ask?
-- Dominy Clements, MusicWeb International
Composer: Mozart, Haydn
Audio CD (November 10, 2009)
Number of Discs: 1
Format: Hybrid SACD - DSD, Import
Label: Channel Classics
ASIN: B002K3GOXW
Average Customer Review: 4.8 out of 5 stars
Companies, etc.
Phonographic Copyright (p) – Channel Classics Records bv
Copyright © – Channel Classics Records bv
Recorded At – All Saints' Vicarage
Credits
Design [Cover] – Channel Classics
Edited By – C. Jared Sacks*
Engineer [Recording Engineer] – C. Jared Sacks*
Liner Notes – Clemens Romijn, Rachel Podger
Liner Notes [French Translation] – Clémence Comte
Liner Notes [German Translation] – Erwin Peters
Orchestra – Orchestra Of The Age Of Enlightenment
Photography By – Chris Stock Photography
Producer – Jonathan Freeman Attwood
Viola, Soloist – Pavlo Beznosiuk (tracks: 4 to 6)
Violin, Soloist – Rachel Podger
Notes
Recording location
All Saints' Vicerage, East Finchley London
Recording dates
Haydn: March 2009
Mozart: July 2009
Rachel Podger plays a Pesarius Violin (1739) on tracks 1 to 3 and 7 to 9 (Mozart) and the Antonio Stradivari, Cremona 1699 "Crespi" on tracks 4 to 6 (Haydn).
Pavlo Beznousiuk plays the Antonio Stradivari, c.1720 "Castelbarco" on tracks 4 to 6 (Haydn)
Also credited in the booklet:
- Technical equipment
- Microphones: Bruel & Kjaer 4006, Schoeps
- Digital Converters: DSD Super Audio / Meitnerdesign AD/DA, Pyramix Editing / Merging Technologies
- Speakers: Audio Lab, The Netherlands
- Amplifiers: van Medevoort, The Netherlands
- Cables: Van den Hul (exclusive use of Van den Hul cables The INTEGRATION and The SECOND®)
- Mixing board: Rens Heijnis, custom design
Mastering Room
- Speakers: B+W 803d series
- Amplifier: Classe 5200
- Cables: Van den Hul (exclusive use of Van den Hul cables The INTEGRATION and The SECOND®)
© & ℗ 2009
Production & Distribution
Channel Classics Records bv
info@channel.nl
www.channelclassics.com
Made in Austria
english • deutsch • français
Total time 67:43
Barcode and Other Identifiers
Barcode (Text): 7 23385 29309 5
Mastering SID Code (outermost rim): IFPI L556
Matrix / Runout (outermost rim): A0101368858-A911 26
Mastering SID Code: IFPI L555
Matrix / Runout: A0101368858-A911 15
Mould SID Code: IFPI 9B41
Rights Society: STEMRA
Label Code: LC 4481
Other (SPARS Code): DDD


专辑曲目:
1. Violin Concerto in G major, H. 7a/4: Allegro moderato
2. Violin Concerto in G major, H. 7a/4: Adagio
3. Violin Concerto in G major, H. 7a/4: Allegro
4. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Allegro maestoso
5. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Andante
6. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Presto
7. Violin Concerto No. 1 in C major, H. 7a/1: Allegro moderato
8. Violin Concerto No. 1 in C major, H. 7a/1: Adagio
9. Violin Concerto No. 1 in C major, H. 7a/1: Presto