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艺人
Anne-Sophie Mutter
语种
其他
厂牌
Deutsche Grammophon
发行时间
2008年09月19日
专辑类别
录音室专辑

专辑介绍

穆特首次巴赫录音

穆特,小提琴/指挥特隆赫姆独奏家乐团 /杰吉耶夫指挥伦敦交响乐团

乍看之下,这张专辑的曲目非常突兀:巴洛克时期的巴赫搭配俄罗斯现代女作曲家古拜杜丽娜题献给穆特的小提琴协奏曲《当下》。事实上,乐曲的搭配相当巧妙:因为巴赫的作品一向是古拜杜丽娜的创作灵感。在穆特的诠释下,爱乐者可以从全新的现代角度来审视巴赫的作品,并且想象假如巴赫身处现代背景,可能会出现什么样的创作方向。

古拜杜丽娜第二号小提琴协奏曲《当下》创作于2006年至2007年间,由穆特在2007年的瑞士琉森音乐节中首演,2008年初与杰吉耶夫、伦敦交响乐团录制。为了突显出独奏,古拜杜丽娜删去乐团的小提琴编制,配器相当巧妙,由大键琴与打击乐器搭配华格纳低音号,让音色不至过于单调,抒情的长旋律给了穆特非常大的诠释空间。而在巴哈的作品里,穆特再度与当年合作维瓦第《四季》而且广受好评的年轻团体特隆赫姆独奏家乐团联手,打造出别出心裁的现代巴赫。

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Brooding, turbulence and visions of hell and heaven in Gubaidulina’s concerto

Anne-Sophie Mutter has lost no time in recording the violin concerto written for her by Sofia Gubaidulina in 2006-07. In a single movement running for about 32 minutes, it shows the composer’s concern to make a direct and immediate impact, avoiding complicated materials but using very expansive forms. Its possible to sense the kind of allusions to Mahlerian archetypes that are no less prominent in Shostakovich or Schnittke. Yet Gubaidulina has her own very personal musical identity, and the concerto’s strategies for playing off heights against depths, lament against affirmation, are very powerfully realised. The risks of rambling, improvisatory musing are triumphantly avoided, and the work’s final stages appear to bring starkly opposed images of extinction and rebirth into a strongly ambivalent conclusion that both affirms and questions resolution.

This darkly inviting music is splendidly performed. You’d expect the Mutter/Gergiev combination to be combustible, and there is certainly no reticence or half-measures in the way the music’s expressive core, its play with visions of hell and heaven, is exposed. Gestures towards traditional consonant harmony stand out strangely, and dancelike patterns are clearly not going to survive for very long in a context where brooding and turbulence are the principal qualities. The resplendent recording celebrates the score’s rich colouring while never allowing the solo line, played with all this performer’s natural theatricality and poise, to lose its prominence. Maybe, at one particularly stark climax, the hammered rhythmic repetitions in the orchestra seem over-emphatic. But urgency rather than reticence drives Gubaidulina’s thought, and this performance never lets you forget it.

It would have been good to hear these performers in Gubaidulina’s other major work for violin and orchestra, Offertorium. Instead, the pair of Bach concertos speak of a distant musical world in which stability and spontaneity achieved an extraordinary conjunction. The performances are neat tidy, dispatched with elegance and vigour. Yet they reinforce the gulf that musically separates then from now, and all-Gubaidulina discs are not as common as they should be.

-- Arnold Whittall, Gramophone [10/2008]

Works on This Recording

1.

Concerto for Violin no 1 in A minor, BWV 1041

by Johann Sebastian Bach

■ Performer: Anne-Sophie Mutter (Violin)

■ Conductor: Anne-Sophie Mutter, Valery Gergiev

■ Orchestra / Ensemble: London Symphony Orchestra, Trondheim Soloists

■ Period: Baroque

■ Written: 1717-1723; Cöthen, Germany

■ Length: 13 Minutes 29 Secs.

■ Notes: Audio Engineer: Dagmar Birwe.

■ Audio Producer: Ute Fesquet.

2.

Concerto for Violin no 2 in E major, BWV 1042

by Johann Sebastian Bach

■ Performer: Anne-Sophie Mutter (Violin)

■ Conductor: Anne-Sophie Mutter

■ Orchestra / Ensemble: Trondheim Soloists

■ Period: Baroque

■ Written: 1717-1723; Cöthen, Germany

■ Length: 17 Minutes 31 Secs.

3.

Concerto for Violin "In tempus praesens"

by Sofia Gubaidulina

■ Performer: Anne-Sophie Mutter (Violin)

■ Conductor: Valery Gergiev

■ Orchestra / Ensemble: London Symphony Orchestra

■ Period: 21st Century

■ Written: 2007

■ Length: 32 Minutes 45 Secs.

■ Notes: Audio Engineer: Dagmar Birwe.

■ Audio Producer: Ute Fesquet.


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