Erick Friedman -小提琴精品 流浪者之歌(Violin Showpieces)[XRCD + HDTT 24bit/96KHz) ]

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资源信息： 专辑英文名: Violin Showpieces 专辑中文名: 小提琴精品 流浪者之歌 艺术家: Erick Friedman 古典类型: 全集作品 版本: [XRCD + HDTT 24bit/96KHz) ] 发行时间: 1992年 地区: 美国 语言: 英语 概述:

专辑介绍: 这是一张相当特别的XRCD2再版制作——特别之处是为“Violin Showpieces”原录音作主奏的Erick Friedman并非一位大众熟悉的巨星级小提琴手；然而在十多年前当RCA以廉价版推出CD时，由于其演录俱佳之故在很短的时间内已被争相传颂，以致成为一代名CD，可说令不少人大跌眼镜矣。事实上，这张“Violin Showpieces”内所收辑的七首乐曲全部源自六十年代RCA的黄金年代。大家都知道当时RCA以“Living Stereo”系列而名震录音界，而绝大部份巨星级演奏家亦曾为“Living Stereo”录音，故此名气稍逊的演奏者便没有机会作重点推广之列。以Erick Friedman为例，尽管他在六十年代为RCA灌录过多张唱片(翻查记录正确数量是八张)，而且据说他亦[贵为]Heifetz的入室弟子，然而在众多[一哥]为RCA打天下的年代亦不能够不被稍为冷落看待了。然而，当大家有机会细味这张“Violin Showpieces”中Erick Friedman的表现时，肯定会惊叹他的音乐感染力实在达致极级水平，他的琴音准确而富美感，造句清丽脱俗，实在是一位拥有非常个人魅力的演奏家。配合两位著名指挥和乐团(包括为Halcolm Sargent的London Symphony Orchestra和Walter Hendi的Chicago Symphony Orchestra)的伴奏下，令音乐元素更显光芒。查资料所得，原录音师原来分别为Gordon Parry与Lewis Layton，难怪音效如此出色。是次以XRCD2版本推出令它的音质更上一层楼——难得的是，除了音效全面提升之外，连背景噪音亦大幅下降，这样绝对可令聆听乐趣更高。 弗里德曼的弓法同海飞兹十分相近，对小提琴中音区的演奏技巧甚有特色，运弓力度适宜，音色扎实饱满，尤其是双弦拉得特好，把位准确，韵律和谐，在当代提琴家中特树一帜。 负责此碟录音的是音响发烧友十分熟悉的美国唱片制作专家莱顿，在1962至1963年期间的制作。这张CD的传真度极高，现场感及空气感好，堂音丰富，在《茨冈 》中表现最为突出。母带的嘶声清晰可闻，需将电平加大聆听，此刻才明白何谓小提琴的音色是如此的美丽。 虽说60年代的录音技术不及现今，但为何有这样美妙的录音效果呢？这正是莱顿的过人之处，一是他认真细致、一丝不荀的负责精神；二是他具有高度的音乐艺术素养，与小提琴演奏家、乐队、指挥都心息相通；三是他具有出色的驾驭器材的能力和现场控制能力。四十年过去了，其演奏和录音仍可称得上是上上之作，实为小提琴录音典范中的典范，即使再过几十年也难以取代。 Erick Friedman 埃里克·弗里德曼: 美国小提琴家。1939生于美国新泽西州的纽瓦克（Newark）。父亲是一位业余小提琴手，6岁开始教他学习小提琴。后从阿普勒鲍姆（Samuel Applebaum）学习，10岁时又随加拉米安（Galamian）学习。1954年初次在纽约登台独奏。1956年在卡内基音乐厅演出，同年开始随米尔斯坦学习。50年代后期，海菲兹从频繁的音乐会演出中退出后，弗里德曼成为他的第一个正式学生。海菲兹很看中他的才华，曾在1960年邀他合作录制巴赫的双小提琴协奏曲，这是海菲兹惟一一次与他人合作的双小提琴演奏唱片。 　　此后他开始自己的音乐会演出生涯，曾与许多乐团和著名指挥有过合作，诸如波士顿、芝加哥、伦敦、柏林、费城等乐团，以及斯坦伯格（Steinberg）、萨金特、小泽征尔、普列文等。此外他也为 RCA 录制唱片，其中的普罗科菲耶夫第一小提琴协奏曲获得过最佳销售排行。 　　1965年，他至莫斯科参加柴可夫斯基国际音乐比赛，受到不公正待遇，事业也因之受到影响；不久，左臂和手又在一次交通事故受伤，致使演奏生涯突然中止。 　　此后，他开始从事音乐教育工作，在学校教授小提琴课程。1989年开始在耶鲁大学音乐学院任教。此外他还担任马里兰州的加勒特湖音乐节乐团的音乐总监和指挥。 引用 萨拉萨蒂，流浪者之歌 　　《萨拉萨蒂流浪者之歌》，又名《吉普赛之歌》，小提琴独奏曲中不朽的名篇。萨拉萨蒂的作品自始至终十分讲究效果和技巧，都是纯粹的小提琴作品。这一首乐曲是萨拉萨蒂所有作品中最为世人所熟悉的名作，它那回肠荡气的伤感色彩与艰涩深奥的小提琴技巧所交织出来的绚烂效果，任何人听后都会心荡神驰不已。 　　吉普赛民族在世界上分布广泛，但都是从不定居的流浪民族，世世代代过着清苦而又饱受歧视的生活，但这个民族活泼、乐观、能歌善舞。作者萨拉萨蒂运用十分恰当的手笔描写了这一民族性格的几个侧面，并使小提琴的旋律性与技巧性得到相当完美的结合。本曲中的管弦乐伴奏部分，也是作者亲自编配的。 Das erste, was auf dieser XRCD zu Ohren kommt ist Bandrauschen. Und dann wird es plötzlich ganz egal, denn die Interpretation der Stücke und die fabelhafte Instrumentbeherrschung Friedmans ziehen in den Bann. Auch für nicht Klassikhörer geeignet. Der Titel ist eine Zusammenstellung für Werke in denen die Violine eine tragende Rolle erfährt und es spielen mit dem London Symphony Orchestra unter Sir Malcom Sargent und dem Chicago Symphony Orchestra unter Walter Hendl die erste Garde aus den goldenen Jahren der RCA. English translated version (for reference only) The first thing that comes to my attention on this XRCD is tape hiss. And then there is suddenly no matter, because the interpretation of the pieces and the fabulous instrument control Friedman put a spell. Suitable for non-classical listeners. The title is a compilation of works in which the violin and it undergoes a major role to play with the London Symphony Orchestra under Sir Malcolm Sargent and the Chicago Symphony Orchestra under Walter Hendl the top stream from the golden years of the RCA. Год: 1992 — 2004 Стиль: Classical Music Формат: STEREO, XRCD, APE, CUE Размер: 359mb Erick Friedman and the London Symphony Orchestra conducted by Sir Malcom Sargent and the Chicago Symphony Orchestra conducted by Walter Hendl, perform violin showpieces by Saint-Saens, Paganini, Ravel and more! London Symphony Orchestra (1-8,11) Sir Malcolm Sargent, conductor (1-8,11) Chicago Symphony Orchestra (9,10,12-14) Walter Hendl, conductor (9,10,12-14) Erick Friedman-海飞兹的高徒 2009-07-22 20:25:38 　　来自: 瓶中水 Violin Showpieces的评论 5 star rating5 star rating5 star rating5 star rating5 star rating 5 　　说friedman无法跨越heifeiz这座高峰，实在是非人力所能为。但friedman的流浪者之歌确实是精彩绝伦，每次听完总有呼吸不过来的感觉。 　　Friedman的天才是他老师海菲兹也不得不承认的，heifeiz一生唯一一次与人合作录制巴赫的d小调双小提琴协奏曲就是和Friedman一起合作的，足见heifeiz对其的认可和重视。只可惜Friedman后来因车祸损伤了左手手指再也无法登台。2005年死于癌症。 让我们对艺术宽容一点。 Heifeiz固然伟大，但并不是不可超越， 以此作标准来衡量别人不见得公平。 　　 《VIOLIN SHOWPIECES》可以说是每个发烧友门都应该人手一张的发烧天碟了，碟中的演奏家弗里德曼乃是小提琴大师海飞兹的高徒，而且得到海飞兹的真传，弗里德曼的弓法同海飞兹十分相近，对小提琴中音区的演奏技巧甚有特色，运弓力度适宜，音色扎实饱满，尤其是双弦拉得特好，把位准确，韵律和谐，在当代提琴家中特树一帜。负责此碟录音的是音响发烧友十分熟悉的美国唱片制作专家莱顿，在1962至1963年期间的制作。这张CD的传真度极高，现场感及空气感好，堂音丰富，在《茨冈 》中表现最为突出。母带的嘶声清晰可闻，需将电平加大聆听，此刻才明白何谓小提琴的音色是如此的美丽。 虽说60年代的录音技术不及现今先进，但为何有这样美妙的录音效果呢？这正是莱顿的过人之处，一是他认真细致、一丝不荀的负责精神；二是他具有高度的音乐艺术素养，与小提琴演奏家、乐队、指挥都心息相通；三是他具有出色的驾驭器材的能力和现场控制能力。在高档系统中聆听该碟发现当中的信息量之大令人吃惊，该碟可以称得上是小提琴录音典范中的典范，即使再过几十年也难以取代。 这张唱片的母带录制于1962-1963年间,是典型的黄金年代名盘，由海菲兹的**埃力克.弗雷德曼演奏小提琴小品,RCA当年的掌门录音师路易斯.雷顿和录音仍都可称得上是上上之作，小提琴的音质、质感及音色都有极致的表现，至于弗雷德曼的演奏技巧更是淋漓尽致，至今仍少有琴手可以匹敌。这张CD是小提琴录音典范中的典范，即使再过去的40年,也难以取代。 代码 听弗雷德曼演奏《流浪者之歌》 2008-11-10 22:18:17| 分类： [发烧路上] |字号 订阅 西班牙的萨拉萨特（Pablo de Sarasate，1844-1908)是继帕格尼尼之后，小提琴乐坛上一位赫赫有名的演奏家，就像帕格尼尼一样萨拉萨特也为小提琴作曲。其中《卡门幻想曲》和《流浪者之歌》广受世人喜爱，可谓家喻户晓。 由于萨拉萨特本人是小提琴演奏家，所以他创作的《流浪者之歌》可说是集小提琴演奏技巧之大成，难度相当大。因此，几乎所有的小提琴家都乐衷于演奏它，以此炫耀自己的琴技。 我不会拉小提琴，但非常喜欢《流浪者之歌》，各位演奏家的版本都尽可能收藏。其中，最常听的一张就是弗雷德曼演奏的《小提琴天碟》。记得女儿读大二放暑假回家时，我就是用弗雷德曼演奏的“流浪者之歌”和闵惠芬演奏的“二泉印月”对她进行音响启蒙的。我认为“二泉印月”是中国的“流浪者之歌”，由于文化差异，东西方人的情感表达方式截然不同，只要比较一下这两支曲子，就一目了然。 在收藏的所有版本中，弗雷德曼演绎的“流浪者之歌”最能让我感动。他用悲愤、悲壮、悲怆诠释了“流浪者之歌”，把吉普赛人放荡不羁的个性和流浪不屈的精神展现得淋漓尽致。 我常在情绪低落的时候听这首曲子，让千回百转“流浪者之歌”弥漫整个空间，让英雄主义的悲壮填满自己的灵魂，听完之后仿佛经历一场磨难，重新找回苦苦寻求的坚柔与宽广。 虽然弗雷德曼是海菲兹的弟子，虽然海菲兹、拉宾、里奇、帕尔曼、穆特等许多著名的演奏家都曾演奏过《流浪者之歌》，但是谁也没有找到弗雷德曼的感觉。就像杜普蕾演奏埃尔加大提琴协奏曲一样，萨拉萨特的“流浪者之歌”永远属于弗雷德曼！ 片名：小提琴天碟Violin Showpieces (XRCD) 演奏：埃力克·弗雷德曼 编号：82876-62971-2 http://wmjpapa.blog.163.com/blog/static/4942331020081010101817390/ The XRCD - what is behind ... ... Is the following insight: The vast majority of CDs that can purchased, sound is not nearly as good as it is technically possible. Target for the development of the manufacturing process XRCD It was the sound of the master tape as close as possible to come. The Xtended resolution CD makes this possible. Enough to play any CD or DVD player. You do not need special chipsets or audio formats XRCDs and can easily in the car or play on the computer. In most cases, a studio, a freshly remastered Recording on CD-R, DAT tape or 1630 U-matic tape Send to a pressing plant. From this moment on, you can in the studio only hope that the end product - the final CD - will have some similarity with the master. The finished CD is usually true with the digital bit accuracy Master consistent, but in most cases much worse sounding. The production chain for CD production is not unlike the CD-standard extensions and as for the CD production a number of steps to another must fall exactly into one another, can a small Source of errors along the process a large impact on the 've finished product. Accordingly, each stage of the CD production with great care done. What sounds could finally best JVC in Japan Idea obtainable developer surprisingly only rudimentary measure, but relied on long Listening sessions a variety of mastering professionals. Every possible configuration of machinery, wiring, Power, system clock, glass mastering and Manufacturing process has been tried. One of the surprising findings was the importance the power supply for the process. Consequently, contains almost the entire production chain a complete isolation from the system and is current only after filtering and retiming with pure power supplies. This concept is found in the last few years also Some manufacturers such as Accuphase HiFi, or Burmester Mark Levinson. The process begins with the XRCD mastering. It is either used analog master tapes or But digital master tapes re-analogized. That means it will be a case of digital master tapes only Special design of the JVC uses K2 24bit D / A converter then the mix of the band completely analogous perform. Only after the analog mix is ​​the exact same converter in A / D configuration uses an order 24bit digital master on a magneto-optical disc to . transfer For this purpose a used JVC K2 24-bit burner. This entire process is a "Rubidium master clock" clocked that is more precise by a factor of 10,000 as a Crystal-controlled clock, as commonly used is. Assuming makes you look at all the trouble one To use external clock. Before now it comes to the actual production, which must be a senior sound engineer one aural comparison between perform analog and digital master and issued only after its release. One can imagine that with conventional CDs are not even the temporal possibility this intermediate step to go. Many manufacturing companies boast thus, from within a few hours only digital Master to get to the finished printed CD. This is no doubt very impressive and also cost economies, but the sound quality inimical. The JCD XRCD factory in Yokohama then the magneto-optical master by just those K2 burner, It has also been described, read again. Of course this is also from an identical "Rubidium master clock" is controlled, the other also Manufacturing process will overclock and thus preclude jitter. Proceed through the patented K2 Super Coding then the 24bit to 16bit signal downscaled. Here, the 16bit resolution of the CD standards fully exploited, which is too significantly improved dynamics over standard CDs leads. The next step is to convert the 16-bit signal by an EFM encoder to the 0 and 1 structure, as described in The form of pits on the disc is displayed. The encoder controls a K2 modified laser on, and after the caching still sync with the times "Rubidium master clock" the data structure on a glass master is burning. Here is the "Extended Pit Cutting Technology" uses - the longer of the individual pits is for the total length of the CD optimized. A XRCD which takes only 40 minutes getting something larger pits, as a 80min disc to the most precise Reading to make it possible. Finally, by the glass master of the XRCD stamp manufactured. Also here is one consistently and takes the imprint directly from the glass master, whereby the latter is destroyed. That means there are only a single stamp with the only A limited number can be made by XRCDs. Many older books are out of print and wear the stamp can not be remade. Rarely it happens that demand a new glass master worthwhile. The machine for the production of the stamp has Incidentally, "only" a voltage stabilizer. To achieve a complete reclocking it would own one Power plant on the site been necessary. With ongoing technological possibilities has also the process of production in different XRCD Evolutionary stages of XRCD over XRCD2 to present current XRCD24 developed. But even the "old" XRCD recording are excellent examples of exceptionally good Recordings and play virtually all available today normal CDs under audiophile point on the wall. Please remember that a XRCD a small masterpiece is full of attention to detail and to the music. The people who are the ultimate sound quality of XRCD who are prescribed with great conviction Skill and craftsmanship. Pablo de Sarasate 萨拉萨蒂-流浪者之歌) 01.Zigeunerweisen, Op. 20: Moderato (0:57) 02. Zigeunerweisen, Op. 20: Lento (3:36) 03. Zigeunerweisen, Op. 20: Un poco piu lento (2:02) 04. Zigeunerweisen, Op. 20: Allegro molto vivace (1:53) (Henryk Wieniawski 维尼亚夫斯基-传奇) 05. Legende, Op. 17 (7:36) (Saint·Saens 圣·桑-哈巴涅拉) 06. Havanaise, Op. 83: Allegretto e lushinghiero (2:19) 07. Havanaise, Op. 83: Allegro (4:59) 08. Havanaise, Op. 83: Allegro ma non troppo (2:01) (Niccolo Paganini 帕格尼尼- Ｄ大调第一小提琴协奏曲) 09. Concerto No. 1, Op. 6: Rondo: Allegro spirituoso (8:31) (Ernest Chausson 肖松-音诗) 10. Poeme, Op. 25 (14:44) (Maurice Ravel 拉威尔-茨冈狂想曲) 11. Tzigane (8:52) (Saint·Saens 圣·桑-引子与回旋随想曲) 12. Introduction et Rondo capriccioso, Op. 28: Andante (Malinconico) (1:38) 13. Introduction et Rondo capriccioso, Op. 28: Allegro ma non troppo (6:32) 14. Introduction et Rondo capriccioso, Op. 28: Piu allegro (0:38)

Erick Friedman (August 14, 1939 - March 30, 2004) is considered by many as one of the greatest American born violinists of the past century. 专辑曲目: XRCE Version 01. Sarasate / Zigeunerweisen, Op. 20: Moderato [0:00:57.62] 02. Sarasate / Zigeunerweisen, Op. 20: Lento [0:03:36.08] 03. Sarasate / Zigeunerweisen, Op. 20: Un poco piu lento [0:02:01.55] 04. Sarasate / Zigeunerweisen, Op. 20: Allegro molto vivace [0:01:53.25] 05. Wieniawski / Legende, Op. 17 [0:07:36.00] 06. Saint-Saens / Havanaise, Op. 83: Allegretto e lushinghiero [0:02:19.00] 07. Saint-Saens / Havanaise, Op. 83: Allegro [0:04:59.12] 08. Saint-Saens / Havanaise, Op. 83: Allegro ma non troppo [0:02:00.25] 09. Paganini / Concerto No. 1, Op. 6: Rondo: Allegro spirituoso [0:08:30.58] 10. Chausson / Poeme, Op. 25 [0:14:43.42] 11. Ravel / Tzigane [0:08:51.63] 12. Saint-Saens / Introduction et Rondo capriccioso, Op. 28: Andante (Malinconico) [0:01:37.62] 13. Saint-Saens / Introduction et Rondo capriccioso, Op. 28: Allegro ma non troppo [0:06:32.00] 14. Saint-Saens / Introduction et Rondo capriccioso, Op. 28: Piu allegro [0:00:38.38] HDTT 24/96 version 1. Sarasate-Zigeunerweisen 8:25 2. Wieniawski-Legende 7:34 3. Saint Saens-Havanaise 9:16 4. Chausson-Poeme 14:41 5. Ravel-Tzigane 8:48