Jean-Guihen Queyras -《维瓦尔第：大提琴协奏曲》(Vivaldi: Cello Concertos)[iTunes Plus AAC]

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Jean.Guihen.Queyras.-.[Vivaldi.Cello.Concertos].专辑.(AAC).zip	151.69 MB
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资源码率：256k iTunes Plus AAC
发行公司：℗ 2011 harmonia mundi
作曲家：Antonio Lucio Vivaldi
乐团指挥：Georg Kallweit
乐团演奏：Akademie fur Alte Musik Berlin
资源出处：iTunes Store 自购 by Mr.Young
专辑介绍：
之前听过Han-Na Chang的维瓦尔第大提琴协奏曲，非常喜欢；
这一个版本是由Jean-Guihen Queyras担任大提琴演奏，
所选的曲目与Han-Na Chang版本也不太一样。
很多人可能不太熟悉这位，
我也是从他2007年出的那张巴赫的无伴奏大提琴组曲才认识他，
最近才开始搜集他以前出的碟。
在网上找到一篇08年The Telegraph对于Jean-Guihen Queyras的采访；
给大家简单介绍一下他这个人：
已经四十几岁，看起来比实际年龄年轻十多岁，非常有才华也有天赋；
他有3个女儿，采访稿中特别说明他是一个顾家好男人，哈哈，
演出时间表都是经常按照孩子放假时间来定；
Queyras很早就开始学大提琴，后来在朱莉亚音乐学院跟随Tim Eddy学习，
这位老师教他如何让一把大提琴像一个歌手一样“歌唱”，从而更好地与听众交流。
维瓦尔第的大提琴协奏曲结构精致、不落俗套，但大多数都是遵循fast-slow-fast的规律，
Georg Kallweit给这张专辑精心安排了曲目顺序，
使整张专辑听起来和谐许多，给大家带来完美和谐的巴洛克风韵。




引用Interview with Jean-Guihen Queyras
After the Bach Suites, this CD is your second incursion into the Baroque repertoire on record. Is Vivaldi as indispensable in a cellist’s career as Bach?
Vivaldi brings back floods of early memories for me. The cello concertos by Anner Bylsma and the Collegium Aureum were among my first records, which I listened to again and again. I began playing the sonatas in my first year of learning the cello. And I even enjoyed a prenatal initiation, since my mother, who was an accomplished amateur pianist, regularly accompanied a cellist friend.
You often mention Anner Bylsma as a musician who has influenced your own musical career. Did he play a role in the preparation of this CD?
Anner revolutionised my view of music during a masterclass at the Château de Villarceaux. A week focusing on the Bach Suites. I was twenty-five at the time. We’ve never lost touch since then. A while ago Anner let me into the crowded library of his house in Amsterdam, a sort of ‘Aladdin’s cave’ which is the embodiment in paper of his years of experience and in-depth research into the universe of the geniuses of the Baroque era, including Vivaldi of course.
He handed over to me rare scores filled with precious annotations about the interpretation of these atypical works.
How did you plan the programme of this album?
Vivaldi’s cello concertos have just one little drawback: all of them scrupulously respect the three-movement, fast-slow-fast form, with very few exceptions such as the concerto in E minor with obbligato bassoon.
That in no way detracts from their wonderful inventiveness, but it does mean they weren’t intended to be placed back-to-back without any transition. So we’ve interspersed them with other works of very different structures.
The credit for setting the concertos in formal relief like this and devising the inventive programme of this CD should go to Georg Kallweit, the leader of Akademie für Alte Musik Berlin, who has an immense knowledge of this repertoire with its possible pitfalls and above all its formidable potential. He succeeded in finding the most fruitful contrasts.
How was your first time working with Akamus?
An extremely enriching encounter. Of course we come from very different worlds, which created a fine spirit of emulation.
Over and above their experience and their inestimable knowledge of the sources (the cellist Jan Freiheit had tracked down all the available manuscripts of the works for the recording), their marvellously clear-cut aesthetic standpoints on articulation and phrasing were very stimulating for me. I won’t forget in a hurry the electric atmosphere of our first concert, in a packed Laeiszhalle in Hamburg!曲目表：（点击看大图）




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