Janine Jansen -巴赫 创意曲和变奏曲 Bach - Inventions Partita [APE]

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资源信息： 专辑英文名: Bach - Inventions & Partita 专辑中文名: 巴赫 创意曲和变奏曲 艺术家: Janine Jansen 资源格式: APE 发行时间: 2007年11月25日 地区: 美国 语言: 英语 概述:

专辑介绍: 现年29岁的美女小提琴新秀珍妮·简森（Janine Jansen ），来自荷兰，6岁开始学琴，年纪虽轻，演奏足迹早已遍及大西洋两岸…… 不仅在祖国家喻户晓，在国际上亦逐步建立名声。伦敦报纸评论她“似乎拥有了一切——年轻、美丽、令人惊讶的技巧、愉悦的诗意“歌声”，以及迷人的演奏风范！” 这次DECCA制作的《Bach: Inventions (arranged for strings) & Partita - Janine Jansen & friend》完完全全释放出了Janine Jansen的才气。 专辑内容为：J.S.Bach为独奏小提琴而作的D小调组曲BWV 1004；15首巴赫二部创意曲；15首三部创意曲。 J.S.巴赫为独奏小提琴而作的组曲一共有三首，在这些作品中，J.S.巴赫几乎设计了小提琴所能演奏的一切和弦，使用了几乎不可能演奏的对位技巧，它们构成了巴赫小提琴音乐的最高巅峰。在巴赫之后，小提琴无伴奏组曲很少再有人创作，很大一部分的原因就是无法愉悦这座巅峰。专辑中收录的是D小调小提琴无伴奏组曲，BWV1004，共有5个乐章，安排是：阿勒曼德舞曲——库朗舞曲——萨拉邦德舞曲——吉格舞曲——夏空舞曲（Ciaccara）；也是因为其末乐章的夏空舞曲，而使D小调组曲成为3首小提琴无伴奏组曲中最为著名的一首。 专辑中的二部三部创意曲非常有意思 ，1702年J.S.巴赫写作了《创意曲》，是为儿子写作的键盘教材。《创意曲》一般都是由古钢琴或是钢琴演奏的，但历史上出现过一个《创意曲》改编本，由著名的小提琴演奏家海菲茨（Heifetz）演奏小提琴，普里姆罗斯（Primrose）和皮亚蒂戈尔斯基（Piatigorsky）分别演奏中提琴与大提琴，构成《创意曲》的二、三声部。现在这张专辑的情形与当时如出一辙，由珍妮·简森演奏小提琴，由马克西姆·里萨诺夫（Maxim Rysanov）演奏中提琴，由托雷夫·席德登（Torleif Thedeen）演奏大提琴，用二重奏和三重奏的形式演奏多声部的创意曲。 演绎巴赫时最难达到的是一种必要的平衡，情感与严肃而深奥的表演之间的平衡。巴赫没有浅薄不定的情感，没有骤降的愤怒，没有不好的话语和短促的允诺——他的情感与地球上所有的人，从最北端到最南端的族群都相通。巴赫在他的组曲中传达的就是这些基本的情感。这是演奏者必须解决的最大课题。 珍妮·简森用另外一种方式来演绎J.S.巴赫。她的演奏极具张力，非常敏锐却不矫情，表情丰富且率性自然，时而激昂澎湃时而纤细委婉，是非常有生命力的音乐！是非常具有生命力的J.S.巴赫！珍妮·简森给J.S.巴赫注入了一种特有的年轻的活力。聆听音乐时能明显感受到，她是在用全身心在拉琴的，这种演奏很有“到底”的感觉，让人处于一种释放的快感中。 演绎巴赫，必须找到介于浪漫狂想演绎的巴赫与学院派枯燥之间理想的中介。很明显，珍妮·简森的所演绎的是在平衡之中稍偏重于浪漫狂想演绎的巴赫，着实很不容易。要找到心灵与J.S.巴赫相通，而又不矫造于本性的事物是很困难的。 听这张专辑，请把音量开大，等待着被吸走吧！ Janine and Bach “These pieces are not played enough. They deserve to be played! They are such wonderful, genius pieces.” Janine Jansen on Bach’s Inventions Following a triumphant concerto recording featuring the pillars of the Romantic violin repertoire, Janine Jansen reverts to the roots of violin playing with a chamber survey of the musical voices of Bach. The Two-part and Three-part Inventions were originally solo keyboard pieces composed for Bach's students. For this recording, the blend of violin & viola, and violin, viola & cello gives the music a completely new resonance. The recording opens with 15 Two-part Inventions BWV 772-786, transcribed for violin and viola. Janine is joined by Maxim Rysanov, one of today's best and most charismatic viola players. The central work on the CD is a solo performance of Partita No. 2 in D minor. This grand solo Partita contains five movements: four traditional dances concluded by the monumental Chaconne. The recording concludes with 15 Three-part Inventions BWV 787-801, transcribed for violin, viola and cello. Cellist Torleif Thedéen, one of the most highly regarded Scandinavian musicians, adds the third voice. A chamber approach For Janine Jansen, playing chamber music is as natural as living and breathing, as witness her trail-blazing account of Vivaldi’s Four Seasons with solo string accompaniment (475 6418). Since 1998 Janine has been a member of Spectrum Concerts Berlin, an important chamber music series given in the Philharmonie, and in 2003 established her own international chamber music festival in Utrecht. This gave her the opportunity to work regularly alongside a number of renowned artists to whom she feels especially close, including Leif Ove Andsnes, Yuri Bashmet, Mischa Maisky, Julian Rachlin, Kathryn Stott, Jean-Yves Thibaudet and Maxim Vengerov. “I have played chamber music virtually all my life,” she beams. “When I was nine years old my violin teacher put me in a piano quintet and I’ve never looked back. It is so important to start at an early age because you learn to react to what is going on around you in such a direct and intimate way. Chamber music is so revealing — your true personality shines through in your playing. It is one of my great loves and, of course, the repertoire is incredible.” Bach’s Two-part Inventions and Three-part Sinfonias (also often called Inventions) were originally solo keyboard pieces composed for his students as preparatory exercises for more complex pieces of counterpoint. His main aim was to ensure that each part was clearly defined and delivered in a singing style, qualities that lend themselves particularly well to string instruments. For the recording Janine and colleagues worked directly from Bach’s originals, with Maxim’s viola part written out in the alto clef. Occasional reference was made to the existing arrangement by Ferdinand David (for whom Mendelssohn composed his E minor Violin Concerto), when for practical reasons one of the instruments needed to make an octave transposition in order to play a melodic line. “It’s an ongoing search to find a way to play Bach. And then of course to play chamber music, to have two people coming together, the challenge is not only the intonation. It is about finding the same musical idea, the same character, the same articulation, the same phrasing.” Recording the solo Partita Bach’s mighty D minor Partita, most notably the epic Chaconne finale, is a daunting task for all violinists. “I must have been playing the Partita for fifteen years, but when the time came to record it I was so overwhelmed by feelings of awe and respect that for a while I simply couldn’t put bow to string. My producer Friedemann Engelbrecht and Maxim, who was also there during the recording of the Partita, really helped me through this moment. Once I got over it, I had a great time — that piece has such an incredible tension right from the beginning.” “As I listened to the playbacks I discovered I was subtly changing my approach with each take in order to play more effectively for the microphone. I found myself changing the way I played chords, for example, so that I achieved the same kind of rounded tone quality I strive for when playing this remarkable piece in concert. But with Bach’s music one is always searching and discovering new things, so that even during the sessions we found ourselves coming up with fresh ideas and approaches all the time. It is such amazing music that the possibilities seem truly endless.” Interpreting Bach This inevitably brings us to the question of how far Janine is influenced by the period instrument movement when playing Bach. “I grew up with the Baroque style,” she recalls fondly, “as my father is an organist-harpsichordist and my uncle a Baroque singer, so it was a part of my life from a very early age.” Yet although she is a great admirer of such celebrated Baroque violinists as Rachel Podger and Andrew Manze, Janine has so far resisted the temptation to go down that route herself. “Exposure to the authentic style of playing naturally affects the way you view this music,” she explains, “but in the end I think one has to go with one’s own feelings and musical instincts. I use a modern instrument and bow, and for me it’s the way you breathe with the music and the way you phrase that actually defines your artistic personality. Baroque music tends to get “boxed in” if you are not careful. The idea that you cannot use vibrato, for example, or have to play particular phrases in a particular way — I really don’t think it needs to be that strict. Mine is instinctively a Romantic approach, so I tend to use vibrato as a natural expressive device, as an added colour. Fortunately the three of us seemed to feel this wonderful music in much the same way so that gave us a head start.” “I learned more about playing Bach in those five days than I learned through my whole life. You just have to listen, open your ears and find a way… the most important thing in music is that it touches you.” 代码 吉妮．杨森：「这些小品被演奏的次数还不够多，它们应该要更常被演奏才是！因为它们都是如此优美、充满天才之笔的作品。」 　　青年小提琴家吉妮．杨森在录完孟德尔颂和布鲁赫的小提琴协奏曲后，一反大部份小提琴家的录音路线，反而走进巴哈和室内乐这种较亲密的音乐型式中，寻找创意与和谐。从九岁被老师安排在钢琴五重奏中与人合奏后，吉妮．杨森就喜欢上室内音乐演奏的乐趣和美感，从中她也学到了与其他乐手亲密的互动和如何在这样的互动中，表现自己。而自从1998年以来，她更成为柏林「光谱音乐会」的固定乐手，长期在柏林爱乐厅中与其他乐手合奏室内乐。这样的经验让她在2003年在祖国荷兰的乌特勒支市创办了自己的室内音乐节，邀请当今最显赫的乐手包括安斯涅、提鲍德、凡格罗夫、麦斯基等音乐理念与她相近的名家前去与她合奏。而这份录音就是她对室内乐长久以来的热爱和经验孕育而成的果实。 　　巴哈的二声部和三声部创意曲，原本是写给儿子和学生练习对位法弹奏的键盘乐曲。透过这三十首乐曲，巴哈希望能够训练学生完美弹奏两手在不同声部主题的独立性和风格掌握。而杨森这份以小提琴、中提琴和大提琴演奏的创意曲录音，则是参考了费迪南大卫这位十九世纪小提琴家的改编谱。 　　由於杨森的父亲是位大键琴家、亲戚中还有古乐歌手，所以从小就浸淫在荷兰的古乐学派训练中。但她在詮释这些巴哈乐曲时，她却迴避古乐学派不用揉音的技巧，而自然地採用现代小提琴演奏的手法。当然，这份录音中的另一重头戏则是巴哈的Ｄ小调无伴奏小提琴组曲，此曲因为有著终乐章的夏康舞曲而闻名。这个夏康舞曲乐章也是小提琴音乐史上的艰难曲目，杨森从小演奏这首组曲至今已经有十五年，等於是从十五岁就开始练习此曲。但到正式灌录此曲时，在录音室中还是多次停弓，思索最佳的詮释方式，而迟迟无法运弓演奏。而为了能让麦克风捕捉到此曲的神妙处，她录了此曲几次，每次都尝试不同的力道和弓法，以求找出最好的音色与和弦效果。 　　吉妮．杨森是一位充满个人魅力的新世代演奏家，2006年当她在柏林爱乐的温布尼录天剧场，对著两万五千名的露天观眾演出时，因为出色的演奏，赢得了全场的起立喝彩，这是向来严格的柏林听眾不轻易给外国演奏家的讚赏，而吉妮得到了。手持史特拉第瓦里1721年制Barrere名琴，这份巴哈录音，就像她向来坚持的与眾不同一样，让人欣赏到她不一样的音乐内涵和独到见解。 巴赫:创意曲及组曲 二声部创意曲,BWV772-786 古组曲第二号,d 小调 , BMV1004 三声部创意曲,BWV787-801 吉妮杨森( Janine Jansen),小提琴 裏萨诺夫(Maxim Rysanov),中提琴 托雷夫 席德登(Torleif Thedeen)大提琴 由弦乐版演出的Bach Invention Bach Piano Invention(中文翻译：巴哈创意)共有三十首，其中15首是二声部，另外的十五首是三声部(又被称Sinfonia)。这些曲目绝大多数的学音乐孩子，尤其是学琴约十年左右的学生一定会学到的曲目，而其实巴哈本身於1723年创作的这些曲目，也是为了他的儿子的教育而写的曲目。而创作此曲并非提高演奏技巧，而是使用「不折磨」耳朵听力下，藉此同时教导甚么是「好的主题构想」与主题的发展，进而使学生对於作曲产生兴曲，因此每首听起来像是小品，但是藉此来教导接近创作阶段的和声、对位法。所以与现代教钢琴的人手法天壤地别。 小时候学习此曲，也曾经遇到前所未有的困扰。因为大多数的曲目，都是右手是主旋律，左手是伴奏。但是巴哈的音乐却不一样，你的左手与右手随时随地都是主旋律，而主题也会互换，放大的主旋律也不见得是在同一地方，所以对位法很强烈。就好比控制左右手的左脑与右脑随时随地都要互换一样，不习惯的第一次弹奏还真的非常不容易，所以这些曲目在小时后，曾被老师「狂电」很兇，也有一段时间不太想摸这些曲目。可是随著年龄增长，慢慢的弹奏会发现，其实这些创意曲曲目都是非常可爱的，而且在慢慢弹奏当中，可以发现很多乐趣。 近来也有很多演奏家，慢慢的又将此曲挖掘出来，而改编成一些其他乐器演奏版本，像是英国著名的音乐家Kennedy，他就在公开的音乐会场合，挑选了三首二声部的创意曲，使用大提琴与小提琴当作是原本的钢琴的左手与右手，这是我第一次在DVD看到这种演奏方式，感觉很新鲜。后来2007年著名的小提琴家Janine Jansen也与中提琴家 Maxim Rysanov、大提琴家Torleif Thedeen合作，用小提琴与中提琴演奏二声部的创意曲，而小中大提琴合奏成三声部的创意曲。近来我也在某乐谱店发现这种二声部版本(三声部目前还未看到)。 http://blog.xuite.net/zhaomingliu2000/Godgadasvara/32874572

专辑曲目: Two-part Inventions, BWV 772/786 01. J.S. Bach: No. 1 in C, BWV 772 02. J.S. Bach: No. 2 in C minor, BWV 773 03. J.S. Bach: No. 3 in D, BWV 774 04. J.S. Bach: No. 4 in D minor, BWV 775 05. J.S. Bach: No. 5 in E flat, BWV 776 06. J.S. Bach: No. 6 in E, BWV 777 07. J.S. Bach: No. 7 in E minor, BWV 778 08. J.S. Bach: No. 8 in F, BWV 779 09. J.S. Bach: No. 9 in F minor, BWV 780 10. J.S. Bach: No. 10 in G, BWV 781 11. J.S. Bach: No. 11 in G minor, BWV 782 12. J.S. Bach: No. 12 in A, BWV 783 13. J.S. Bach: No. 13 in A minor, BWV 784 14. J.S. Bach: No. 14 in B flat, BWV 785 15. J.S. Bach: No. 15 in B minor, BWV 786 Partita for Violin Solo No.2 in D minor, BWV 1004 16. J.S. Bach: 1. Allemande 17. J.S. Bach: 2. Corrente 18. J.S. Bach: 3. Sarabande 19. J.S. Bach: 4. Giga 20. J.S. Bach: 5. Ciaccona Three-Part Inventions, BWV 787-801 21. J.S. Bach: No.1 in C, BWV 787 22. J.S. Bach: No.2 in C minor, BWV 788 23. J.S. Bach: No.3 in D, BWV 789 24. J.S. Bach: No.4 in D minor, BWV 790 25. J.S. Bach: No.5 in E flat, BWV 791 26. J.S. Bach: No.6 in E, BWV 792 27. J.S. Bach: No.7 in E minor, BWV 793 28. J.S. Bach: No.8 in F, BWV 794 29. J.S. Bach: No.9 in F minor, BWV 795 30. J.S. Bach: No.10 in G, BWV 796 31. J.S. Bach: No.11 in G minor, BWV 797 32. J.S. Bach: No.12 in A, BWV 798 33. J.S. Bach: No.13 in A minor, BWV 799 34. J.S. Bach: No.14 in B flat, BWV 800 35. J.S. Bach: No.15 in B minor, BWV 801