Heifetz - 孟德尔颂与贝多芬小提琴协奏曲 (Beethoven Mendelssohn)[24 bits 44 KHz][FLAC]

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资源信息： 专辑英文名: Beethoven Mendelssohn 专辑中文名: 孟德尔颂与贝多芬小提琴协奏曲 艺术家: Heifetz 古典类型: 协奏曲 资源格式: FLAC 版本: [24 bits 44 KHz] 发行时间: 2016年 地区: 美国 语言: 英语 概述:

专辑介绍: 海飞兹(小提琴) 查尔斯‧孟许(指挥)波士顿交响乐团 海飞兹留名青史的贝多芬名盘，绝对令您读赏。 　　1950年代，海飞兹为「Living Stereo」所录制的协奏曲，每张专辑备受好评，至今都仍是目录上的必载名盘。这张贝多芬专辑是海飞兹於1955年与孟许暨波士顿交响乐团所共同演出录制的。这是继托斯卡尼尼与NBC交响乐团之后，第二度的专辑录制。听眾能欣赏到经由孟许俐落的交响乐团衬托，海飞兹精纯熟练的技巧所呈现出的独奏风格。装饰演奏由姚阿幸（第一乐章）、奥尔（第三乐章）制作，海飞兹编曲演奏。「克罗采奏呜曲」为海飞兹唯一留存的贝多芬奏呜曲立体声录音。这是继1951年与莫伊塞维茨希（Benno Moiseiwitsch）合作的EMI专辑后，第二度录音。 Beethoven & Mendelssohn: Violin Concertos (Heifetz Remastered) About Jascha Heifetz Jascha Heifetz was the leading figure among the extraordinary group of Russian Jews who dominated violin playing in the second and third quarters of the 20th century. As a technician he had no superior, and, of all the artists of his time and later, only two or three could even offer a challenge to his electrifying precision of execution. His diamond-point tone and quick vibrato afforded his playing a clarity of line that some felt was almost too perfect, even cold. Most conductors and other violinists -- and audiences -- felt differently and a Heifetz concert inevitably drew sell-out crowds. Heifetz was born in Vilna, where his father Ruvim was a violinist in the city theater. When he was three, his father bought for him a quarter-size instrument and gave him beginning instruction. By the age of five, Heifetz had advanced enough to enter the Vilna Conservatory, where he began instruction under Elias Malkin. Only a year later, Heifetz made his first public appearance performing the Mendelssohn Violin Concerto. The six-year-old was so successful that offers for other appearances came from numerous other venues in Russia and he was hailed as a real prodigy. When Leopold Auer, then a famous professor at the St. Petersburg Conservatory, came to Vilna in 1909, he was persuaded by Malkin to listen to Heifetz. After hearing him in Mendelssohn and Paganini, Auer embraced him and predicted for him a splendid future, urging him to come to St. Petersburg and become his pupil. Ruvim Heifetz resigned his position, sold the family belongings, and took his son to St. Petersburg, but Auer initially failed to recognize the boy and refused him admittance to his home. By the time Auer realized his error, the Conservatory entrance deadline had passed and Jascha had to enroll in the class of an assistant. Six months later, however, Heifetz was able enter Auer's class, and thereafter his progress was astounding. During an appearance at the International Exposition in Odessa, the reception accorded Heifetz was so explosive that a police escort was needed afterward. Concerts throughout Europe followed immediately and, at an appearance with the Berlin Philharmonic in 1914, conductor Artur Nikisch declared that he had never heard violin playing such as his. Heifetz's American debut took place at Carnegie Hall in 1917, eliciting such observations as "only the molten gold of Fritz Kreisler can be conjured up in comparison" (Herbert F. Peyser) and "He is a modern miracle" (Pitts Sanborn). The ensuing year brought triumph after triumph, with critics vying with each other to offer the most extravagant superlatives. A period of transition a few years later brought some critical reservations as Heifetz sought to move away from the overt emotionalism of his Russian training and become a more objective player. By the mid-1920s, however, a balance had been struck and once again accolades flew as critics and audiences noted a new, more mature approach to his music. Heifetz became an American citizen, settled in California, and enjoyed the benefit of a long-term recording contract with RCA, amassing a sizable discography over the years. Throughout his career, Heifetz favored gut strings, perhaps to temper the fine-edged aggressiveness of his attack and the enormous strength of his bowing arm. Early recordings of concertos, made mostly overseas, were gradually redone -- though not supplanted -- with American orchestras and in improved sound. Nonetheless, many of the earlier releases, despite their having been done in short takes required by 78-rpm discs, still compel attention for their unsurpassed mastery. ~ Erik Eriksson 这是Grand Slam全新转录的海飞兹与孟许合作的孟德尔颂与贝多芬小提琴协奏曲.多年以前,Grand Slam曾以四轨盘带发行这份录音(GS-2057),当时转录效果已经相当惊人.此次Grand Slam精益求精,再以私藏的38厘米双轨盘带珍贵音源转录,效果再度提升到另一境界.小提琴音乐爱好者梦寐以求的终极转录! 由著名乐评家及音乐研究者平林直哉所创立的Grand Slam唱片公司,专门以特殊来源的母盘来转录经典的伟大名演,其中有许多发行是以当时首版盘带转录而成,这种盘带是最佳的音乐格式,因为这种盘带乃是直接从母带转拷而来的最直接格式(母带正是盘带格式).因此在讯源上比起后制为黑胶格式的黑胶唱片更为完整丰富.不过此种盘带比起黑胶不易保存,因此在今天能取得状况优异的盘带转录非常难得.搭配上平林直哉全程监制的转录工程,让Grand Slam的发行一直以来都是乐迷心目中的名盘. 本专辑为海飞兹与孟许的经典协奏曲名演,这份录音已经在市面上有著SACD或XRCD等高规则的唱片,不过Grand Slam的转录达到了小提琴音色的另一境界,非常饱满多变的琴音在这份转录上让乐迷体验到前所未有的美好声音. Heifetz with Munch - Mendelssohn and Beethoven violin concerto / Heifetz,Munch 海飞兹与孟许 - 孟德尔颂与贝多芬小提琴协奏曲 (私藏38厘米双轨盘带终极转录) / 海飞兹,孟许 发行公司：Grand Slam 产品编号：GS-2137 发行日期：2016/01/26 张数：1 张 - 1CD Performer: Jascha Heifetz Orchestra: Boston Symphony Orchestra Conductor: Charles Munch Composer: Ludwig van Beethoven, Felix Mendelssohn Audio CD (May 19, 1998) Number of Discs: 1 Label: Sony Classical Run Time: 62 minutes ASIN: B000006OPI Average Customer Review: 4.0 out of 5 stars Heifetz’s Beethoven Violin Concerto with Charles Munch is the greatest recording of its kind. It’s pointless in a work this lyrical and calm to accuse Heifetz of overpowering the music–he doesn’t–and while there will always be favorite versions that view the work from a more, well, “olympian” perspective (Oistrakh/Cluytens, or Menuhin/Furtwängler, for example), Heifetz and Munch play the music with a classical poise and chiseled perfection that is very special. In the first movement particularly, the swift basic tempo produces a tension, a quiet energy that seems very much to Beethoven’s point, while the Larghetto and Finale couldn’t be better paced. It goes without saying that Heifetz’s flawless intonation and ear-catching articulation leave most other players in the shade, and if this comes across as “cold” to some listeners then that impression cannot be due to any lack of nuance or sensitivity. As for the Mendelssohn, this is simply the greatest performance yet recorded. The work was made for Heifetz: Mendelssohn was himself a romantic of classical restraint and self-control–some might say inhibition–and in this work he created a virtuoso showpiece that requires total control over the instrument and, in the finale especially, hair-trigger precision. And my God, that’s just what Heifetz and Munch offer, in spades. The entire work flies by as if in a single breath, and the finale features some of the most astounding collaboration betweens soloist and orchestra that you will ever hear, anywhere. I truly pity violinists who have to play this work today after hearing this version. Maybe they shouldn’t. Sonically the Mendelssohn, from 1959, is more naturally balanced and more vivid than the Beethoven of 1955. This coupling has also been released on SACD, reviewed by both Jed Distler and me previously, but to tell the truth this Living Stereo regular stereo edition sounds just fine, and it’s still available for around ten bucks. However you acquire these performances, no collection is complete without them. Beethoven*, Mendelssohn*, Heifetz* • Munch*, Boston Symphony Orchestra ‎– Violin Concerto In D / Violin Concerto In E Minor Label: RCA Red Seal ‎– 88697720602, Sony Music ‎– S70475C Series: Living Stereo – Format: CD, Album, Remastered, Cardboard Sleeve Country: Asia Released: 2010 Genre: Classical Style: Romantic, Classical Credits Composed By – Ludwig Van Beethoven (tracks: 1 to 3) Conductor – Charles Munch Coordinator [Series Coordination] – Tim Schumacher (2) Design – Red Herring Design Engineer [Dsd] – Philipp Nedel Engineer [Mastering] – Mark Donahue Engineer [Recording] – John Crawford (2) (tracks: 4 to 6), Lewis Layton (tracks: 1 to 3) Orchestra – Boston Symphony Orchestra Photography By – Sara Foldenauer Producer – John Pfeiffer Reissue Producer – Daniel Guss Supervised By [Editorial Supervision] – Elizabeth A. Wright Supervised By [Remastering Supervisor] – John Newton Violin – Jascha Heifetz Notes This CD is CD 6 of Living Stereo 60 CD Collection and not an individual release. Remastered at Soundmirror, Inc. Recorded in 1955 (tracks 1 to 3) and 1959 (tracks 4 to 6).

专辑曲目: Violin Concerto In D, Op. 61 37:49 1. Allegro, Ma Non Troppo Composed By [Cadenza] – Heifetz*, Auer* 20:40 2. Larghetto 8:45 3. Rondo: Allegro Composed By [Cadenza] – Heifetz*, Joachim* 8:23 Violin Concerto In E Minor, Op. 64 24:01 4. Allegro Molto Appassionato 11:00 5. Andante 7:01 6. Allegretto Non Troppo; Allegro Molto Vivace 5:58