Gary Karr -低音提琴协奏曲(Virtuoso double-bass concertos / La contrebasse virtuose)[FLA

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

资源信息： 专辑英文名: Virtuoso double-bass concertos / La contrebasse virtuose 专辑中文名: 低音提琴协奏曲 艺术家: Gary Karr 古典类型: 全集作品 资源格式: FLAC 发行时间: 1994年03月21日 地区: 美国 语言: 英语 概述:

专辑介绍: 　本录音获得世界性成就，除了音效在普通版时期已真实无比，Gary Karr之扣人心弦技艺功不可没，如今Lim 马老闆再度以xrcd 24重刻这一张精选了七张经典的低音大提琴演奏专辑，再合而为一，让此片「精选集」的价值收藏非凡。 　Gary Karr他被誉为当今最出色的低音大提琴演奏家，他以历史上最靚声的低音大提琴演奏出一些最动听的曲目，是发烧友和喜欢低音大提琴演奏的乐友要收藏的专辑。 盖瑞.卡尔 简介： 美国的时代杂志曾经赞扬盖瑞.卡尔为居世界领导为居世界领导地位之低音提琴独奏家(the world’s leading solo bassist)，不仅如此，盖瑞.卡尔也是史上第一位将低音提琴独奏作为全职的低音提琴独奏家，而盖瑞.卡尔所拥有由库赛夫斯基遗孀所致赠的1611年的低音提琴Amati使得盖瑞.卡尔的音乐成就更蔚为传奇。 1962年，盖瑞.卡尔在纽约卡内基音乐厅由伯恩斯坦指挥纽约爱乐下首演，他精湛的演奏由电视现场转播，从此一炮而红，展开独奏家的演奏生涯，在他的一生中，纽约的首演是他的重大转折点。从此他以独奏家身分走遍六大洲，与许多著名乐团合作演出，如纽约爱乐、芝加哥交响乐团、伦敦爱乐、伦敦交响乐团、巴黎爱乐、蒙特利尔交响乐团、多伦多交响乐团、委内瑞拉卡拉卡斯的西蒙玻利瓦乐团、耶路撒冷交响乐团、奥斯陆爱乐、苏黎世室内乐团、香港爱乐、台湾的国家音乐厅交响乐团、以及澳洲的各大交响乐团等。 盖瑞.卡尔于低音提琴的成就是一项传奇中的传奇。意大利的有线电视曾转播三场卡尔的低音提琴独奏会给两千万古典音乐爱好者欣赏，而盖瑞.卡尔在日本由King唱片所发行的许多录音，在亚洲地区长久以来一直是排行榜上的常客。美国的CBS曾为盖瑞.卡尔录制Camara Three专辑于Bell Telephone Hour节目中播出；在加拿大，CBC电视台制作了Gary Karr and his friend系列节目；在英国的Channel 4电视台也曾录制一系列的儿童节目Bass is Beautiful；在1985年英国BBC制作了两集影片，一个是介绍卡尔的音乐及生活"Amazing Bass"，另一个是为儿童所作的专辑；在盖瑞.卡尔与伦敦交响乐团的第三张录音中，录制了英国作曲家约翰道尼的低音提琴协奏曲；美国CBS的Sunday Morning节目曾专题介绍卡尔的成就；威斯康辛大学亦发行了一卷介绍盖瑞.卡尔於低音提琴的独到见解BASSically Karr和一卷特别的儿童音乐会Karrtunes。这些是盖瑞.卡尔众多成就的一小部份。盖瑞.卡尔最自豪的一项成就是由名女高音罗莎朋赛儿基金会(Rosa Poselle Foundation)所颁发的金牌奖，这证明盖瑞.卡尔不仅是一位低音提琴家，他的音乐的歌唱性令他获得这个专属于声乐家的成就。 盖瑞.卡尔为了回报当年库赛夫斯基遗孀赠与他1611年的Amati名琴，盖瑞.卡尔于1984年成立了卡尔低音提琴基金会，这个非营利的机构提供乐器给赢得比赛的优秀的低音提琴家们，并且委託许多作曲家创作低音提琴独奏曲目，这并包括盖瑞.卡尔私人的乐谱收集以及名琴中的名琴─1611年的Amati。 I first came across Gary Karr, when, as a very young record collector, I was given a recording of Saint-Saëns’ Carnival of the Animals conducted by Bernstein (BRG 72072). On this 1962 LP Bernstein had deliberately selected some outstanding teenage musicians to play the work and Gary Karr was one of them. In fact he played The Swan normally heard on the cello but here on the double bass and Bernstein was obviously most moved by his performance as he said in his narration on the record. Aged only 19, Karr was already obtaining a uniquely strong, distinctive, lyrical and eloquent sound out of an instrument, which no one was taking seriously. It has been Karr’s obsession to reverse the public’s perception of this heavy, grumbling instrument and he is well on the way. He is the first full-time professional solo double-bassist in history according to his website and I for one would not like to disagree. This 1992 recording is released in Europe for the first time. It is interesting to consider that, now 10 years on, Gary Karr has gone on to bigger and even greater things although his performances in Britain are still all too rare. I will go through these three works in turn starting with Stuart Sankey’s extraordinary Carmen Fantasy. This is not of course the first of its ilk. Just recently there has been one recorded by the late Buxton Orr. Other more famous string examples would include the one by Sarasate. Sankey’s is a very clever and enjoyable example using a large orchestra. After a portentous start the bass has a virtuoso cadenza. Immediately the problem of recorded balance rears its head. You need to turn up the volume here having kept it lower for the opening. This difficulty haunts the entire piece. I hasten to add that the composer may be trying to use the bass as if it were a cello; indeed I asked myself if the piece would work even better on a cello. Similar questions and problems of recorded balance are found in the Grieg. Here, Karr has taken the cello original and transcribed and voiced it more effectively for the bass. He then asked Joe Horovitz to orchestrate it which he has done with clarity and imagination. The excellent notes by Cyrus Meher-Homji explain that the transcription "came about partly through Gary Karr’s concern that there was little in the double bass repertory that was as familiar to audiences as opposed to some of the more well-known concertos." This is all very laudable, and really quite successful. But I then heard the original Cello Sonata. This is played by David Finckel and Wu Han on a very fine BBC Music Magazine CD - well worth seeking out. What is lacking from the new version is the emotional power at the climaxes. The tuning is also unsure, even more significant with an orchestra to contend with. Incidentally the finale in the bass version is a clever reworking and shortening of the original so as to avoid some particularly unsuitable passages. To see how a double bass concerto can really work try Wilfred Josephs’ 30-minute concerto. This is well worth listening to carefully. I would also draw readers’ attention to the concerto by Peter Maxwell Davies on now-deleted Collins 13962. The Josephs begins with a heartfelt recitative, which could almost be a tone-row. The opening movement is the longest and reaches a grand climax. It is marked Allegretto but seems to show little tempo contrast with the second which is marked Adagio ma non troppo. The finale is a Moderato marziale which reminded me a little of the BBC television score Josephs wrote in the late ’60s for the ‘The Great War’ series. Its use of the very bottom register is most telling, especially when accompanied by bassoon and trombone. There is an element of the circus here, which the concerto needs at this point. The bass in this ten-year-old recording seems too recessed and the brass has been vividly recorded so that a brass chord bounces out of the speakers rather like a raspberry. So, all in all, I can’t get too excited by this disc, but for aficionados of the bass or indeed of modern concertos this would at the very least be an interesting purchase. Gary Higginson Read more:

专辑曲目: 1. Concerto For Double-Bass And Orchestra: Allegro 2. Concerto For Double-Bass And Orchestra: Andante 3. Concerto For Double-Bass And Orchestra: Allegro 4. Concerto In A Major For Double-Bass And Orchestra: Allegro moderato 5. Concerto In A Major For Double-Bass And Orchestra: Andante 6. Concerto In A Major For Double-Bass And Orchestra: Allegro guisto 7. Fantasia On 'Moses'