亚河 - 2007/1/30 21:48:00
亚河 在 2007-1-30 20:42:40 发表的内容
海菲茨、普里姆罗斯都是一代大师，但在1956年的这个录音里，普里姆罗斯的中提琴表现得似乎有点儿力不从心，特别是第3乐章，与海菲茨的激情相对，多少给人跟不上趟的感觉。再有，普的琴声有些干、散，与海的音色不太相配。 |
mzt 在 2007-1-30 21:06:44 发表的内容
同意！海菲茨是我最喜欢的，可惜这一首 K364 让我挺失望，他的布拉姆斯双协奏曲也很一般，但mozart的4、5小协很好！不知亚河以为然否？
|
海菲茨拉的莫4、5小协，好久没听了，印象中5似乎比4好一些。
此君 - 2007/1/29 23:30:00
今天到北京出差，去了中图，又忍不住进了两张莫扎特：鲁宾斯坦的莫钢协23，还有一张莫的室内乐
亚河 - 2007/1/30 20:22:00
⒋布朗（Brown）小提琴、伊迈（Imai）中提琴，布朗指挥圣马丁乐团协奏（PHILIPS 464 818-2）
[upload=jpg]Upload/200713019484665140.jpg[/upload]
亚河 - 2007/1/29 22:16:00
此外，莫扎特还作有3首弦乐嬉游曲 K136 K137 K138，ERATO公司有1张库普曼指挥阿姆斯特丹巴洛克乐团演奏的古乐版（2292-45471-2），另加第11号，相当不错。
[upload=jpg]Upload/200712919134827572.jpg[/upload]
MP3试听：
弦乐嬉游曲 K138 第3乐章 急板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16593
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16593
亚河 - 2007/1/30 20:32:00
以上，格罗米欧、佩雷西亚合作的最对胃口，杜梅、Causse联手的次之。
佩雷西亚的琴声浑厚、响亮，功夫相当深，再加上与格罗米欧合作的经验，俩人在1964年5月录制的这个 K364，达到了交相辉映、水乳相融、近乎完美的程度，可谓人间仙乐。
MP3试听：
小提琴与中提琴交响协奏曲 K364 全曲
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16647
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16647
亚河 - 2007/1/30 20:44:00
可能是小奥的功力有限，再加上老奥客串中提琴兼指挥，奥氏父子的整体表现比较表面化，欠缺吸引人的内涵。不过，爷俩拉的第3乐章还好。
MP3试听：
小提琴与中提琴交响协奏曲 K364 第3乐章 急板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16651
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16651
亚河 - 2007/1/29 22:06:00
第11、15、17号为管弦乐嬉游曲，第11号是为姐姐洗礼日而作，其第3乐章，美不胜收；第15号是应某伯爵夫人之约而作，里面的小提琴，忒棒了；第17号很可能为祝贺好友毕业而作，小莫嬉游曲的顶峰之作，第3乐章，为其最著名的小步舞曲。当然，要想一网打尽管弦乐嬉游曲，还得找再版莫扎特作品全集第3盒（464 790-2），全部由圣马丁室内合奏团演奏。
[upload=jpg]Upload/200712919111714354.jpg[/upload]
MP3试听：
第11号嬉游曲 第3乐章 稍快的快板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16590
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16590
第15号嬉游曲 第4乐章 慢板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16591
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16591
第17号嬉游曲 第3乐章 小步舞曲
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16592
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16592
william0608 - 2007/1/29 22:36:00
太谢谢亚河老师了
我把碟子翻出来查了下
确实就差管乐的小夜曲
现在要确定下
管乐小夜曲是不是就是10， 11， 12这三号？
现在正在听自己的17号（334）
哈哈 觉得演绎确实比圣马丁别致一些
136，137，138我这个里面都有^_^
mzt - 2007/1/29 23:22:00
亚河 在 2007-1-29 23:07:24 发表的内容
俺很喜欢科林·戴维斯指的莫扎特。
|
刚入了科林·戴维斯指的莫扎特最后5首交响曲，还没来得及听。
mzt - 2007/1/30 21:06:00
[quote]亚河 在 2007-1-30 20:42:40 发表的内容
海菲茨、普里姆罗斯都是一代大师，但在1956年的这个录音里，普里姆罗斯的中提琴表现得似乎有点儿力不从心，特别是第3乐章，与海菲茨的激情相对，多少给人跟不上趟的感觉。再有，普的琴声有些干、散，与海的音色不太相配。
同意！海菲茨是我最喜欢的，可惜这一首 K364 让我挺失望，他的布拉姆斯双协奏曲也很一般，但mozart的4、5小协很好！不知亚河以为然否？
kathy - 2007/1/31 21:47:00
亚河 - 2007/1/30 20:43:00
布朗女士操琴并指挥的这个演绎，没有什么太大的得失，收进莫扎特作品全集。
MP3试听：
小提琴与中提琴交响协奏曲 K364 第3乐章 急板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16650
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16650
kathy - 2007/1/30 21:55:00
哈哈，恭喜kathy ！怎么样，进入角色了吗？万里长征开始了第一步，今后的路程更长，任务更艰巨啊！ |
也谢谢Aimo老师！现在是累并快乐着:)
亚河 - 2007/1/30 22:56:00
[转帖]
[upload=jpg]Upload/20071302312230695.jpg[/upload]
DVD Series: Mozart 22
When Peter Ruzicka, the Salzburg Festival’s Artistic Director, announced that all 22 of the great composer’s operas would be staged during the Mozart year there was huge excitement. His plan promised not only a world record but also one of the most exciting musical projects in the history of Mozart performance.
The finest directors, conductors and singers in the world have joined forces for this celebration of Mozart’s genius.
Mozart 22 appears on Deutsche Grammophon and Decca, produced by Unitel and BFMI in cooperation with the Salzburg Festival, Austrian Radio (ORF), Bavarian Radio (BR), 3sat and Classica. Some of the most inspired directors of the present day have worked on Mozart 22, creating what is probably the largest audio-visual Mozart project of all time – 51 hours of music! In addition, there will be background reports, artist interviews and rehearsal excerpts.
Over a period of less than two months, up to three opera performances were given each day. Directors such as Stefan Aglassinger, Karina Fibich, Thomas Grimm, Brian Large, Peter Schönhofer, Tomáš Šimerda and Christian Kurt Weiss chose the best takes from three recordings that employed up to twelve camera angles. Each Mozart 22 opera was then processed in High Definition and 5.1 Dolby Surround Sound.
When commissioning new productions, Salzburg did not attempt to sculpt a single, unilateral Mozart image but instead aimed deliberately for variety: each performance constitutes a statement in its own right about the composer’s significance. Following the individual musical and theatrical readings and their realization as individual interpretations becomes an adventure.
What emerges from the diversity serves as proof that Mozart is our contemporary: his humanity, his understanding of the human condition and his acute observations on man’s fallibility are startlingly modern.
The interpretations were enthusiastically received. Critics rhapsodized over Nikolaus Harnoncourt’s Le Nozze di Figaro with Anna Netrebko, Ildebrando D’Arcangelo and Christine Schäfer. Die Welt raved about the Russian soprano’s appearance in this production by Claus Guth: “Characterization – bliss; vocal style: stunning.”
Further excitement was generated by Riccardo Muti’s conducting of Die Zauberflöte and Diana Damrau’s appearance as the Queen of Night. Le Figaro had glowing words: “The Wiener Philharmoniker reacted to every nuance of the conductor and walked with him through worlds of fire and water.” Also part of Mozart 22 are director Martin Kušej’s revolutionary production of Don Giovanni and Stefan Herheim’s controversial staging of Die Entführung aus dem Serail.
The luxurious DVD boxset will also contain Mozart rarities, many of which are now appearing for the very first time on DVD. With the release of 14 lesser-known stage works, such as Il Re Pastore, Ascanio in Alba and Il Sogno di Scipione, Deutsche Grammophon completes their DVD discography of Mozart operas. On one magical DVD, director Thomas Reichert not only offers both Der Schauspieldirektor and Bastien und Bastienne, he also seduces his audience into the world of puppet theater. Jürgen Flimm, by contrast, presents Lucio Silla as an operatic spectacle, while Günter Krämer together with conductor Marc Minkowski plays Mitridate on a breathtaking mirrored stage.
Mozart’s operas can also simply be pure pleasure, as Pierre Audi and Karel Appel demonstrate in their production of Die Zauberflöte. Likewise the Herrmanns in Così fan Tutte. Joachim Schlömer shows in his trilogy Irrfahrten (“Odysseys”) that even Mozart’s fragments evince a powerful connection with the here and now. The Salzburger Nachrichten wrote about this ambitious project: “One could become addicted to these ethereal sounds.”
The conductor Nikolaus Harnoncourt is a prophet of musical performance practice. For decades he’s been seeking the right sound for Mozart. Although his fast-paced performances have set new standards in the past, this new Figaro plays in slow motion – Harnoncourt conducts this opera of erotic love’s aberrations as a Strindbergian nightmare in which every single note has its significance. “Mozart was a revolutionary,” says the conductor, “because he always anchored politics in humanity.” Harnoncourt realizes this interpretation through his conducting, investing the explosive power of private politics with a distinctly contemporary resonance.
Directors Martin Kušej, Stefan Herheim and Claus Guth are Freudian in their reading of Mozart, with their productions showing human frailties as actual virtues.
Mozart 22 is more than a long overdue audio-visual documentation of all the composer’s operas. The project, in its comprehensiveness, illuminates every aspect of his genius.
Due to the sheer number of operas, it was almost impossible to attend all these productions in Salzburg, but now the epoch-making Mozart 22 DVD box makes it possible for audiences worldwide to share this remarkable artistic achievement.
亚河 - 2007/1/30 20:17:00
为小提琴、中提琴和乐队所作降E大调交响协奏曲 K364，是莫扎特最为美妙、最为伟大的作品之一。不知何故，它并不出名，不太为爱乐者所注意。
其唱片，听过的一些版本如下：
⒈格罗米欧（Grumiaux）小提琴、佩雷西亚（Pellicia）中提琴，科林·戴维斯指挥伦敦交响乐团协奏（PHILIPS 438 323-2）
[upload=jpg]Upload/20069171931942359.jpg[/upload]
亚河 - 2007/1/30 20:42:00
海菲茨、普里姆罗斯都是一代大师，但在1956年的这个录音里，普里姆罗斯的中提琴表现得似乎有点儿力不从心，特别是第3乐章，与海菲茨的激情相对，多少给人跟不上趟的感觉。再有，普的琴声有些干、散，与海的音色不太相配。
MP3试听：
小提琴与中提琴交响协奏曲 K364 第3乐章 急板
http://cnc.jdyes.com/club/dispbbs.asp?boardid=34&id=16649
或
http://www.mydcentre.com/club/dispbbs.asp?boardID=34&ID=16649
