Nicola Benedetti -幻想曲 --- 小提琴名曲名演(Fantasie)[MP3]

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资源信息： 专辑英文名: Fantasie 专辑中文名: 幻想曲 --- 小提琴名曲名演 艺术家: Nicola Benedetti 古典类型: 全集作品 资源格式: MP3 发行时间: 2009年 地区: 美国 语言: 英语 概述:

压缩码率: 320Kbps 专辑介绍: ☉妮可拉•班内迪提，小提琴 ★瓦西里•彼得连科指挥皇家利物浦爱乐 李顿指挥伦敦爱乐 哈丁指挥伦敦交响乐团 格里纽克，钢琴 2004年五月，来自苏格兰的十六岁义裔小提琴家妮可拉•班内迪提以齐马诺夫斯基第一号小提琴协奏曲赢得BBC年度青年音乐家大赛，并且在同年得到唱片公司录制六张专辑的合约，进而踏上国际舞台。不过在此之前，出身曼纽因音乐学校的妮可拉•班内迪提早就以优异的表现成为英国最受瞩目的小提琴新星，也有多次与职业乐团，如：皇家爱乐、伦敦小交响乐团、苏格兰室内乐团……合作的经验。这张专辑收录了妮可拉•班内迪提在2005年到2008年之间的录音，曲目充分证明了她充满激情、朝气与精湛熟练技巧，并且兼具内涵的演奏特色。萨拉沙泰《流浪者之歌》与拉威尔《吉普赛人》有著华丽与热情的表现力；圣桑《序奏与轮旋随想曲》富有无比的生命力；慢板的佛汉•威廉斯《云雀飞翔》、马斯奈《冥想曲》的优雅、感情洋溢的浪漫。而妮可拉•班内迪提与乌克兰钢琴家格里纽克合作，皮亚尔特为小提琴与钢琴所写的著名作品《镜中镜》更是整张专辑最动人与耀眼的焦点。在她手中，小提琴的琴音彷彿化为轻柔爱抚的呼吸。这会是所有热爱小提琴曲目的爱乐者们所珍爱的专辑。 【曲目】 [1] 萨拉沙泰：为小提琴与管弦乐团所写的《流浪者之歌》，作品20 [2] 佛汉威廉斯：为小提琴与管弦乐团所写的浪漫曲《云雀飞翔》 [3] 圣桑：A小调为小提琴与管弦乐团所写的序奏与轮旋随想曲，作品28 [4] 马斯奈：冥想曲（选自歌剧《泰伊丝》） [5] 拉威尔：为小提琴与管弦乐团所写的音乐会狂想曲《吉普赛人》 [6] 皮亚尔特：为小提琴与钢琴所写的《镜中镜》 [7] 拉赫曼尼诺夫：为钢琴与人声所写的《练声曲》，作品34-14（小提琴与钢琴改编版） [8] 佛瑞：为人声与钢琴所写的歌曲《梦后》，作品7-1（小提琴与钢琴改编版） Benedetti's fourth album, Fantasie, was released on September 7, 2009. It features the Royal Liverpool Philharmonic Orchestra, Alexei Grynyuk, Vasily Patrenko and Andrew Fantasie is made up from a selection of well-loved violin pieces that form her fourth violin showcase. The repertoire is varied, ultimately all popular pieces and greatly different to the repertoire on her most recent studio albums. The combination of virtuosic, gipsy-influenced pieces with introspective meditations and songs represents the two aspects of violin-playing that particularly interest Benedetti. For Fantasie, Benedetti has put aside the concerti to explore some of the recital greats, including Vaughan Williams’ "The Lark Ascending", one of the greatest works for violin which was, for several years, voted Classic FM’s favourite piece of classical music in their Hall of Fame. Nicola Benedetti released this her fourth album on the Deutsche Grammophon label in September 2009. “Fantasie” reflects the work of an artist undergoing the maturing stages of her career. The concerto repertoire held centre-stage in her previous albums. “Fantasie” moves into the realm of violin favourites and showcases Benedetti’s almost instinctive virtuosic and gypsy-rich rhythmic sensibilities. These she indulges in the most genuine and beguiling manner. Whether it is in the nostalgic sonorities of Pärt’s Spiegel Im Spiegel (lit: “Mirror in the Mirror) or in the devilish runs of Ravel’s Tzigane, Benedetti’s sound and execution blend with the most natural finesse. According to Benedetti, violin virtuosity is “not simply about dazzling display”. It entails all the “attributes required to project the violin’s full expressive range and intensify its lyrical voice.” The purpose is to develop what she calls “a full technical arsenal.” Take Sarasate’s Zigeunerweisen, where Benedetti fulfils what she preaches. She projects the violin’s expressive range and deploys a vivid and lyrical palette. Like the Sarasate, Ravel’s Tzigane has a rich lineage that goes back to the rich gypsy violin tradition. This showpiece reflects a marriage between Benedetti’s gifts of musicianship and wizardry. The Saint-Saëns Introduction and Rondo Capriccioso, once the war-horse of the Belgian violinist Arthur Grumiaux, receives an equally sensual interpretation from the younger violinist. Here, Benedetti matches the intrinsic beauty of Saint-Saëns’s melodic writing with solid articulation. In the trinity of phrasing, bowing and balance she achieves the highest standards. One other aspect to this album is what Benedetti identifies as “the introvert elements”; in other words, the underlying meaning of the music. Take Massenet’s Méditation from “Thaïs”. This intermezzo captures the essence of love in musical form. Benedetti and her English musicians make a heartfelt dialogue of this exquisite work and also bring out its “religious conscience”. Likewise, Vaughan Williams’s The Lark Ascending - a “Romance for Violin and Small Orchestra”. It is a visionary statement, inspired by George Meredith’s eponymous poem of 1895. Benedetti pours out her inner self with a solemn grace that hovers over the sustained orchestral platform. The highlight comes with Pärt’s Spiegel Im Spiegel. This is a musical prayer, that adopts the most simplified and minimal materials to establish a spiritual essence. Triadic arpeggios in the piano part are skilfully played by Alexi Grynyuk. The violinist complements these with stepwise melodic statements. This moving account brings to mind what Pärt himself has said of this music: “(It is) like white light that contains all colours.” The other pieces, including Rachmaninoff’s Vocalise (transcribed by the composer and edited by Josef Gingold) and Fauré’s Après une Rêve (transcribed by Mischa Elman), also serve to “transport the listener.” Benedetti takes her listener by the hand on a musical journey and brings to the violin a rare virtuosity. Patrick P.L. Lam COMPOSER: Pablo Sarasate (other composers in brackets after works) TITLE: Fantasie TRACKS: Zigeunerweisen op.20 (Sarasate). The Lark Ascending (Vaughan Williams). Introduction And Rondo Capriccioso in A Minor op.28 (Saint-Saens). Thais : Meditation (Massenet). Tzigane (Ravel). Spiegel Im Spiegel (Part). Vocalise op.34 No.14 (Rachmaninov). Apres Une Reve (Faure). ORCHESTRA: Royal Liverpool Philharmonic and London Philharmonic CONDUCTOR: Vasily Patrenko and Andrew Litton ARTISTS: Nicola Benedetti Alexei Grynyuk

专辑曲目: 1. Zigeunerweisen, Op. 20 8:59 2. The Lark Ascending 16:03 3. Introduction and Rondo Capriccioso in A minor 9:00 4. Meditation from Thais 5:40 5. Tzigane 10:03 6. Spiegel im Spiegel 9:50 7. Vocalise, Op. 34 No.14 6:11 8. Apres une reve 2:48