Alexei Ogrintchouk -巴哈: 双簧管协奏曲(Bach

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资源信息： 专辑英文名: Bach - Oboe Concertos 专辑中文名: 巴哈: 双簧管协奏曲 艺术家: Alexei Ogrintchouk 古典类型: 协奏曲 资源格式: FLAC 发行时间: 2010年11月16日 地区: 美国 语言: 英语 概述:

专辑介绍: 在巴哈诸多清唱剧、受难曲和神剧当中，双簧家族乐器–像是柔音管或是狩猎双簧管，经常扮演举足轻重的位置。巴哈习惯将这些乐器作为伴奏之用，显然他相当喜爱双簧管的丰富变化特色，因此无论是与哀伤或欢愉连结、或是处理懺悔以及田园般恬静情绪的咏嘆调之中，都能在背景音乐中听到双簧管的音色。因此在巴哈眾多的协奏曲作品当中却独缺双簧管说起来也是相当不可思议的事情，或者，实际上有？许多学者长期以来认为巴哈的键盘协奏曲其实本来是要写给其他乐器，更有许多迹象指出当中某几首是打算写给双簧管或是柔音管。这些作品将一次收录於此让乐迷一饱耳福，另外再选录一首出自巴哈复活节清唱剧中的慢板。本辑的双簧管独奏家阿雷西．欧格林裘克是当今世上最优秀的演奏家之一，13岁便站上国际演奏的舞台，欧格林裘克现任荷兰皇家大会堂的双簧管首席，同时也积极拓展自己的独奏事业。这是他首次於BIS的录音发行，除了由他指挥瑞典室内管弦乐团，在C小调双重协奏曲中还特地找来潜力无穷的年轻小提琴家伊布拉吉莫娃（曾获得2010年皇家爱乐协会青年艺术家大奖、英国古典音乐奖、2005-07年BBC新锐艺术家计画的成员之一）跨刀助阵，保证精彩可期。 专辑编号： SACD1769 专辑类型： SACD 发行年份： 2010 国际条码： 7318599917696 音乐家： Swedish Chamber Orchestra (Svenska Kammarorkestern) 瑞典室内管弦乐团 Alina Ibragimova, violin　艾莉娜．伊布拉吉莫娃, 小提琴 Alexei Ogrintchouk, oboe　阿雷西．欧格林裘克, 双簧管 音乐厂牌： BIS 库存状态： 有库存 Maxim Rysanov, viola　麦可森．瑞沙诺夫, 中提琴 Alexei Ogrintchouk, oboe　阿雷西．欧格林裘克, 双簧管 Lithuanian Chamber Orchestra　立陶宛室内管弦乐团 Boris Brovtsyn, violin　波利斯．布洛夫钦, 小提琴 Leonid Ogrintchouk, piano 雷欧尼德．欧格林裘克, 钢琴 1777年莫札特在曼海姆度过相当漫长的时间并在此时结识了双簧管演奏家弗列德里希．拉姆。他是当时欧洲公认顶尖的曼海姆管弦乐团的双簧管首席。同年稍早莫札特才为另一位音乐家写下双簧管协奏曲，但是他对拉姆的演奏能力留下深刻印象，於是用钢琴将这首曲子弹给拉姆听，拉姆本人也相当欣赏这首作品，即便这首协奏曲并非题献给他，他依旧在1778年２月14日之前频繁的演出这首曲目超过五次，可说给足莫札特面子。「拉姆的演奏实在令人嘆为观止」莫札特本人如此讚嘆。之后莫札特总算找到机会为拉姆量身订做了一首足以展现他过人技巧的双簧管五重奏，同时也挑战当时双簧管的演出极限。身为皇家大会堂管弦乐团的双簧管首席又是世界知名的独奏家，阿雷西．欧格林裘克儼然就是这个时代的弗列德里希．拉姆。前一张巴哈的双簧管协奏曲专辑被德国古典音乐网站评为成绩斐然，音色更被法国古典音乐杂誌"Classica"誉为圆润饱满，温暖醇厚。欧格林裘克身兼独奏并且指挥立陶宛室内管弦乐团，表现可圈可点，更绝的是他甚至找来父亲雷欧尼德．欧格林裘克跨刀，父子两人一同演出降Ｂ大调小提琴奏鸣曲，当然，小提琴部份是阿雷西以双簧管演奏的改编版本，同样精彩可期。 Label:BIS ‎– BIS-SACD-1769 Format:SACD, Album, Hybrid, Multichannel Country:Sweden Released:2010 Genre:Classical Style:Baroque Original Release Date: November 16, 2010 Label: BIS Copyright: © 2010 BIS Total Length: 1:04:10 Genres: Classical ASIN: B004AC2CIW Notes and Editorial Reviews This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. A standard which will be hard to beat. As a glance at the titles for this release indicates, this is pretty much an album of reconstructions. In his learned and usefully comprehensive booklet notes, Geoffrey Burgess describes how Bach’s concertos for harpsichord can be shown to have had other intended solo instruments, the oboe in particular, in mind. Bach wrote more solos for the oboe into his cantatas than for any other instrument, and so the lack of concertante works for the instrument argues that several may have been lost or have only survived in other guises. This is especially the case when considering that renowned oboe players such as his brother Johann Jacob, and Johann Ludwig Rose and Caspar Gleditsch, would have been available at different periods in the composer’s life. This is not the first recording of this kind, and those by Hans-Peter Westermann on Deutsche Harmonia Mundi and Burkhard Glaetzner on Berlin Classics are just a couple of other examples which overlap in terms of content. The first half of this programme is a fascinating collection, bringing disparate movements together to create new pieces. The booklet notes don’t go into much detail about these lower BWV numbers, but Bach’s early Weimar cantatas were certainly given enough challenging hautboy solos to give their unnamed performer plenty to get his teeth into. These amount to impressively substantial works which give a refreshing new look to some excellent music. The Adagio from the Easter Oratorio earns its place as a movement in its own right, its existence as a possible original slow movement of BWV 1055 having also been proposed by musicologist and oboist Bruce Haynes, so with this disc you can even do some reshuffling and find out which version you prefer for yourself. Whatever the sources and arguments for re-creating and restoring what might be imagined to have been Bach’s original intentions, these performances are never anything less than entirely convincing. There are a few familiar movements, but hearing them in this context and played with such stylish expressive prowess as with Alexei Ogrintchouk there is no real sense of repetition or over-use of well known warhorses. The best known individual concertos are the final two on the disc, starting with BWV 1055. Even here there is variety built-in, Alexei Ogrintchouk taking the oboe d’amore, with its lower, richer tones. The lively tempi and crisp playing of the Swedish Chamber Orchestra, harpsichord continuo included, is very bright sounding, and these performances are all expertly done and beautifully phrased. The Double Concerto from BWV 1060 also works very well, the lovely refined solos of Alina Ibraginova’s violin winding their way around the Adagio lines of the oboe in a way which can seem quite sensual at times. As we have come to expect from Bis over the years, the recording of this programme is superb. The oboe is close, but not beyond realistic balance and credibility, and the Swedish Chamber Orchestra is beefy enough to provide more than adequate backing. The SACD quality is fairly understated, developing clarity and sense of line with the increased spatial separation, but with a recording which also serves superbly in straightforward stereo. Alexei Ogrintchouk’s tone is attractively rounded, always expressive and beautifully phrased, and with an effortless and breezy way of taking flight with the music which makes him ‘invisible’ in technical terms, masterful in the way in which he leads the band in interpretations which I have a feeling will be the standard to beat for many years to come. -- Dominy Clements, MusicWeb International 5.0 out of 5 stars Really Wonderful February 8, 2014 By J. R. Trtek Format:Audio CD Bach borrowed some of this music from his keyboard concertos, adapting it for oboe or oboe d'amoure, but no matter which instrument gets to solo, it's all marvelous, and these renditions featuring the Swedish Chamber Orchestra with Alexei Ogrintchouk as both conductor and oboist -- and Alina Ibragimova with violin solos -- are breathtakingly beautiful to my untrained ears. The oboe sounds smooth and full, but with just the tad of bity to keep the listener on the toes. Another nice collection that overlaps somewhat with this one on Naxos, with Christian Hommel as soloist with the Cologne Chamber Orchestra under Helmut Muller-Bruhl, though the oboe playing on that disc strikes me as a bit less suave than Ogrintchouk's. This album, however, hits it right on all counts. Recommended. Companies etc Copyright © – BIS Records AB Phonographic Copyright (p) – BIS Records AB Recorded At – Örebro Konserthus Credits Design – Andrew Barnett Directed By – Alexei Ogrintchouk Engineer [Mixing] – Marion Schwebel Engineer [Sound] – Michaela Wiesbeck Executive Producer – Robert Suff Liner Notes – Geoffrey Burgess Liner Notes [French Translation] – Jean-Pascal Vachon Liner Notes [German Translation] – Horst A. Scholz Oboe [Soloist] – Alexei Ogrintchouk Orchestra – Svenska Kammarorkestern Producer [Recording] – Marion Schwebel Score Editor – Christian Starke, Nora Brandenburg Violin [Leader] – Katarina Andreasson Violin [Soloist] – Alina Ibragimova, Reinut Tepp (tracks: 11 to 13) Notes ℗ & © 2010 BIS Records AB, Akersberga Recording: August 2009 at Örebro Konserthus, Sweden Total Time: 64:16 SACD Multichannel Hybrid; DSD Direct Stream Digital Alina Ibragimova appears on this recording with kind permission from Hyperion Records. 27 page booklet with English, German & French notes

专辑曲目: Concerto In F Major For Oboe, Strings And Basso Continuo; Reconstructed From BWV 49 And 169 Arranged And Edited By Hermann Töttcher And Gottfried Müller 18:58 01. I. Allegro 7:29 02. II. Siciliano 5:07 03. III. Allegro 6:12 Concerto In D Minor For Oboe, Strings And Basso Continuo; Reconstructed From BWV 35 and BWV 156 By Arnold Mehl 11:40 04.I. Allegro 5:25 05.II. Adagio 3:00 06.III. Presto 3:08 07.Adagio From Easter Oratorio; BWV 249 4:08 Concerto In A Major For Oboe D'Amore, Strings And Basso Continuo; Reconstructed From BWV 1055; Edited By Wilfried Fischer 14:37 08. I. [No Tempo Marking] 4:13 09. II. Larghetto 6:06 10. III. Allegro Ma Non Tanto 4:12 Concerto In C minor For oboe, Violin, Strings And Basso Continuo; Reconstructed From BWV 1060; Edited By Wilfreid Fischer 13:26 11. I. Allegro 4:40 12. II. Adagio 5:30 13. III. Allegro 3:11