Salvatore Accardo -莫扎特弦乐五重奏(Mozart: Complete String Quintets)[3 CD][FLAC]

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资源信息： 专辑英文名: Mozart: Complete String Quintets 专辑中文名: 莫扎特弦乐五重奏 艺术家: Salvatore Accardo 古典类型: 全集作品 资源格式: FLAC 版本: [3 CD] 发行时间: 1999年08月17日 地区: 美国 语言: 英语 概述:

专辑说明: 莫扎特弦乐五重奏 文/陈柏达 收听格鲁米欧版 莫扎特一共写了六首弦乐五重奏。在他那个时代，一般是在四重奏上加一个第二大提琴，但莫扎特却加了一个第二中音提琴，使中音部分的音色更浑厚。当然，莫扎特自己是中音提琴好手，所以他对这个乐器不但情有独钟，而且特别了解。但是我们也必须知道，到了他的晚年，莫扎特的四重奏已不像前人那样不过是小提琴独奏和伴奏，而是四个乐器的有机结合。他的五重奏也是如此，增加了中音提琴不但令音色更淳厚，在音乐上这第二中音提琴也是整体中不可分割的一部分。 　　在六首弦乐五重奏中，第一首(K.174) 是他十七岁时所写，相当悦耳，但谈不上突出。第二首(K.406)改编自他的管乐器小夜曲 (K.398)，当然以听原曲为佳。这里不妨一提的是，室乐在十八世纪多以小夜曲(Serenade)和嬉游曲(Divertimento)的方式出现，它们大致有五六个乐章甚至更多，是在宴会上作为“背景音乐”来演奏的。海顿的弦乐四重奏把室乐户外搬到了室内，后来甚至在音乐厅中演出。莫扎特也写了许多“社交音乐”，他却把海顿树立的规模发扬光大，而他的许多弦乐四重奏及晚年的弦乐五重奏，不论是形式和内容，都可以和交响曲相媲美。尤其是第三首C大调(K.515) 和第四首G小调(K.516)的二首，差不多在同时完成，也是最为人所熟知的。 （K515） 　　许多人认为《C大调弦乐五重奏》足可与莫扎特另一首《C大调的交响曲“朱比特”》(K.551)相映辉。的确，这首于1787年4月19日完成的作品于他的不朽歌剧《唐．爵凡尼》(Don Givanni)属于同一个时代，被誉为是开了同类作品的先河之作。 它有四个乐章，第一乐章是快板，大提琴和第一小提琴在三个中音声部衬托下所奏出的主旋律特别动人。第二乐章一般演奏的版本是小步舞曲，但是在华盛顿国会图画馆中保存的莫扎特手稿中，却把小步舞列为第三乐章，而第二乐章则是行板，因此现在的录音两种版本都有。 　　在这个行板乐章中，美妙的旋律真可令人陶醉，第一中音提琴如同歌唱的旋律十分迷人，最后它和第一小提琴的对话更令人如沐春风。第三乐章的小步舞曲清新可喜，放在行板之后似乎更合适。第四乐章的快板以回旋曲形式出现，这确是可和《“朱比特”交响曲》媲美的辉煌之作，五个声部结合得天衣无缝，令人赞叹。 　　如果你认为莫扎特的《G小调交响曲》(K.550)比《朱比特》更动人，那么你一定会同意，他的《G小调五重奏》也是比上一首更为伟大的作品。它大约是莫扎特作品中感情最浓郁的，因为它的音乐发自灵魂深处。在这里，莫扎特似乎在回述他坎坷的一生，包括生活的煎熬、在绝望的深渊中的悲鸣和现实人生中经历的恐惧和苦难，但是，在最后，他又充满了欢乐。这不是贝多芬式的战胜逆境，而是莫扎特式的哲理，有些像颜回的“一箪食，一瓢饮，在陋巷，人不堪其忧，回也不改其乐”。 　　另外两首弦乐五重奏是D大调(K.593)和降E大调(K.614)，它们是莫扎特短暂生命的最后一年的作品，然而却似乎回复到了他年青时的欢乐气氛。我本人觉得C大调和G大调这二首音乐好不可不听的曲目，其余四首相心下是次要的了。 ！ 【注】：莫扎特共作有6首弦乐五重奏：第一号，降B大调，K174，作于1773年；第二号，C小调，K406/516b，作于1788年；第三号，C大调，K515，作于1787年；第四号，G小调，K516，作于1787年；第五号，D大调，K593，作于1790年；第六号降E大调，K614，作于1791年。另有7个片断(KAnh79-83、86、87)。 Wolfgang Amadeus Mozart The Complete String Quintets Violin：Salvatore Accardo、Margaret Batjer Viola：Toby Hoffman、Cynthia Phelps Cello：Rocco Filippini Performer: Salvatore Accardo, Margaret Batjer, Cynthia Phelps, Rocco Filippini, Toby Hoffman Composer: Wolfgang Amadeus Mozart Audio CD (August 17, 1999) Label: Nuova Era ASIN: B00000K0SV Mozart's String Quintets Haydn and Mozart attract some parallel between the originality of each other, while there are also other similarities between these two composers of genius. However, there is one genre, where Haydn, the great creator of so many new forms (like the String Quartet and the Piano Trio, where he excelled), did not touch at all, namely the String Quintet (either for two violins, two violas and one cello or one viola and two cellos). On the contrary, the Six Quintets occupy a paramount place in Mozart's magnificent output. When Mozart came to compose these six magnificent works, the genre was still in its infancy. Boccherini came into this, by composing over a hundred of such works, in different instrumentations apart the classic one (two violins, two violas and a cello). Michael Haydn composed some less important Quintets too. Apart from the youthful First complex Quintet in B flat, K.174 (1773) and the Second in c minor K.406 (which is a transcription of the wonderful Serenade K.388), the rest of them appear later on in his formidable Opus. It is the great year 1787, when the first two superb late String Quintets (in C major, K.515, and in g minor, K. 516) came to life. Then, in 1789-1790, the two wonders of Chamber Music, namely the Quintet in D major, K. 593, and the last one in his beloved E flat, K. 614, made their splendid appearance. They constitute, beyond any doubt, the outcome of such effort and work on the composer's part. By the pressence of an additional viola, the form provides a wider scope and a more complete as well as ample sound - an early outline of the romantic ideal, later transcended so effectively and with utmost beauty and craft by Brahms or Reger. Without any obvious difficulty, the divine composer indulges in this unexplored form of composition with a profoundly dramatic musicality, a feeling of musical colour and a quality of the most refined tone, full of the most subtle nuances. In this genre, the wunder Wolfgang has actually achieved to square the circle; he attained the impossible, for over and above the principle of the form itself: he reveals to us an ability to transcend in such a way that is close to the human voice thanks to the way he uses the five instruments, being so capable of expressing the most intimate detail of the innermost emotions. In this way, a poignant tune will touch us fleetingly, a tender melody will charm, a harmony of joy will stir us, while time and space no longer matter. Are these out of this world works known to you? If yes, which are your thoughts, views and the emotions created by listening to them? Hopefully, we may touch upon each one of them gradually.

专辑曲目: CD 1 String Quintet KV 174 in B Flat Major / in Si bem. Maggiore 1. I - Allegro moderato 2. II - Adagio 3. III - Menuetto ma allegretto: Trio 4. IV - Allegro String Quintet KV 593 in D Major / in Re Maggiore 5. I - Larghetto - Allegro 6. II - Adagio 7. III - Menuetto e Trio - Allegretto 8. IV - Allegro CD 2 String Quintet KV 406 in C Minor / in Do Minore 1. I - Allegro 2. II - Andante 3. III - Menuetto in canone - Trio in canone al rovescio - Memuetto 4. IV - Allegro String Quintet KV 516 in G Minor / in Sol Minore 5. I - Allegro 6. II - Menuetto (Allegretto) 7. III - Adagio ma non troppo 8. IV - Adagio - Allegro CD 3 String Quintet KV 515 in C Major / in Do Maggiore 1. I - Allegro 2. II - Andante 3. III - Menuetto *Allegretto) 4. IV - (Allegro) String Quintet KV 614 in ?E flat Major / in Mi bem. Maggiore 5. I - Allegro di molto 6. II - Allagio 7. III - Menuetto - Allegretto 8. Allegro