Pollini 波利尼 -《舒伯特：晚期钢琴奏鸣曲》[FLAC]
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| [舒伯特：晚期钢琴奏鸣曲].Pollini.[Schubert.The.Late.Piano.Sonatas.D.958-960](FLAC)CD-1.rar | 199.64 MB |
| [舒伯特：晚期钢琴奏鸣曲].Pollini.[Schubert.The.Late.Piano.Sonatas.D.958-960](FLAC)CD-2.rar | 185.06 MB |
| 384.70 MB | |
电驴资源简介
电骡资源
资源分类: | 音乐 >> 古典音乐 >> 奏鸣曲 |
中文名称: | 舒伯特：晚期钢琴奏鸣曲 |
英文名称: | Schubert:The Late Piano Sonatas |
资源格式: | FLAC |
艺 术 家: | Pollini 波利尼 |
发行时间: | 1988 |
地 区: | 德国 |
语 言: | 英语 |
资源简介: | |
 资源出处：原版抓轨 原创资源，未经本人允许，不得转载！ 这张由DG公司推出的《舒伯特钢琴作品选集》 收录伟大作曲家舒伯特钢琴独奏作品数首： 晚期钢琴奏鸣曲3首丶钢琴小品3首 ，由意大利钢琴泰斗波里尼演奏，企鹅评鉴三星。 波里尼用非凡的感知力照亮了舒伯特这些具有非凡价值的作品，事实上他的演奏已成为后来演奏者的“范本”之一。这些录音表明了演奏者所具有的那种旁人难以企及的高度，他把舒伯特作品中的艺术个性，诸如强烈的主题旋律对比之类手法，充满浪漫主义的和声色彩，表现得畅达淋漓。飞舞的手指丶跳动的音符带着舒伯特的心事回荡在耳畔，飘扬在无尽的天空。而所有的这一切，只有一个大师才能做到。 我曾听到这些录音前几次在20世纪80年代，当他们第一次发布，但后来他们放弃了我的视线和我回到肯普夫和布伦德尔和到田和Perahia时候，这些奏鸣曲。 I love these works so much and I also appreciate DG's remastered re-releases of their most highly regarded recordings, so I decided to go for yet another copy of Schubert's "last three."我爱这些作品这么多，我也感谢总干事remastered重新发布其最高度重视的录音，所以我决定去另一个副本，舒伯特的“过去三年。 ” What a fortunate re-release this is.真是一个幸运的重新发行，这是。 Coming back to Pollini's interpretations after listening to many others, I'm struck by how Pollini stands alone for the supreme clarity of his passage articulation and his masterful grasp of extended, complex and potentially formless works (think of his Schumann, his late Beethoven, the Liszt and Chopin sonatas, and his recording of Schubert's D. 845 sonata) over which lesser pianists often lose control.回来波里尼的解释，在听取其他许多国家一样，我很深刻的立场如何波里尼单独最高清晰度的通道衔接和他的高超把握延长的，复杂的和潜在的无形作品（认为他的舒曼，他的贝多芬，李斯特和肖邦的奏鸣曲，他录制的舒伯特的奏鸣曲4 845 ）以上的小钢琴家往往失去控制。 A brief comparison with other interpretations of these sonatas.简要相对于其他的解释，这些奏鸣曲。 Brendel, Perahia and Pollini are all quite similar in that they take a lean, spare and unembellished approach to the D. 960, as opposed to Kempff, Richter and Uchida, who bring out the sonata's more spacious and sonorous qualities and make so much of the silences between the sonata's many mood changes.布伦德尔， Perahia和波里尼都十分相似，因为它们需要一个精干，备件和unembellished办法4 960 ，而不是肯普夫，里克特和田，谁带出索纳塔的更宽敞，铿锵的素质，使如此多的之间的沉默的奏鸣曲的许多情绪变化。 For a while I was completely smitten with Uchida's recording, but lately I've gone cold on it.有一段时间我是完全重拳田的记录，但最近我去冷了。 It has the tendency to wax a little too poetic and to be somewhat self-conscious.它的趋势蜡太富有诗意和有点自我意识。 I have the impression that Uchida feels burdened by the effort to make every note and every passage ring with profundity; eventually the first two movements collapse under the accumulated weight she heaps upon them.我的印象中，内田感到负担的努力，尽一切说明和每通道环深刻;最终的前两个动作崩溃的累积下堆积重量，她给他们。 Richter to my mind is even more culpable in this respect (his first movement clocks in at about 26 minutes if my memory serves, while Uchida comes in at about 23 and change. Perahia, Pollini and Kempff manage it in about 18-20, while Brendel foregoes the repeat and his first movement is about 12-13 minutes long).以我的脑海里更是有罪在这方面（第一乐章钟表他在大约26分钟，如果我没有记错，而田排在约23和变化。 Perahia ，波里尼和肯普夫管理大约18-20 ，而布伦德尔放弃重复和他的第一乐章是12月13日分钟） 。 Brendel does a magnificent job with the D. 960, but I've come to appreciate the first movement repeat that almost everyone else who records this sonata observes.布伦德尔的工作做了宏伟的4 960个，但我是来感谢第一乐章重复，几乎每个人谁奏鸣曲观察记录本。 Pollini therefore supplants him here, but what really stands out is the emphasis Pollini gives to what Schubert was doing with the bass clef.波里尼因此取代他来到这里，但真正突出的是强调波里尼给予舒伯特是做什么的低音谱号。 The recording really brings out the left hand complexities of the composition (beyond the foreboding trills) in the first and second movements, while the clean purity of his playing gives the second movement all the transcendent, dreamy qualities that are so abundant in the Kempff recording, albeit in a different manner.录音真正带出左手组成的复杂性（超出了预感颤音）在第一和第二运动，而干净纯洁的发挥使他的第二次运动所有的超越，梦幻般的品质，如此丰富的肯普夫记录尽管以不同的方式。 As for the third and fourth movements, Pollini's control is just a wonder.至于第三和第四个动作，波里尼的控制仅仅是一个奇迹。 It's always eay to overlook these movements because of the overwhelming nature of the first two, but Pollini made me sit up and pay attention in a way I never have with the other interpretations.它总是eay忽视这些运动，因为绝大多数的性质头两家，但波里尼让我坐起来，并注意在某种程度上，我从来没有与其他的解释。 Perahia is excellent too, but strangely enough (since Pollini is often the one accused of remoteness and over-objectivity), there seems to be something absent from Perahia's recording of a piece that seems to rest on its many emotional intangibles. Perahia是太出色，但奇怪的是（因为波里尼往往是一名被告的偏僻和客观性） ，似乎有东西不在Perahia的记录一块，似乎满足于现有的许多情感无形资产。 It's fine--flawless actually--in respect to its architecture and pacing, but there seems to be nothing remarkable about it regarding the emotions it evokes.它的优良-完美实际上-在关于其结构和起搏，但似乎有什么显着的这方面的情绪它唤醒。 So here Pollini and Kempff take the honors.所以在这里波里尼和肯普夫采取荣誉。 Pollini is also magnificent with the D. 959.波里尼也是宏伟的4 959 。 Pollini goes here for a lean, mean, stripped-down-to-essentials Schubert, taking a Beethovenian approach that successfully highlights the many dramatic contrasts without any over-exaggeration or over-emphasis.波里尼这里的一个精干，意思是说，删减到必需品舒伯特，采取Beethovenian的办法，成功地突出了许多引人注目的对比没有任何过分夸大或过分强调。 To my mind no one surpasses Brendel's perfectly modulated and more measured interpretation; suffice to say though that Pollini is a clear and close second, and that many might prefer his approach to that of Brendel.在我看来没有人超过布伦德尔的调制和更完美的测量解释;足以说，尽管这是一个明确的波里尼和密切第二，许多可能喜欢他的办法是布伦德尔。 I like both and will always own both.我喜欢将永远都和自己的两个。 Although excellent and flawlessly executed, Perahia takes this tricky sonata just a little too briskly for my taste; Kempff takes it a little too easily and there's too much of a drop off in the level of tension that threads its way through the first two movements; and Uchida makes a complete hash of the slow movement.虽然出色和完美执行， Perahia借此棘手索纳塔只是有点太火爆了我的口味;肯普夫考虑它有点太容易，有太多的下降水平的紧张线程的方式通过前两个动作;和内田提出了完整的散列的行动缓慢。 If Brendel is the D. 959 sine non qua, he has for me always sounded a tad too brittle in bringing off D. 958, and here both Perahia and Pollini are more successful.如果布伦德尔是4 959正弦波非必要，他对我总是听起来太脆稍带来了4 958 ，在这里都Perahia和波里尼更成功。 The Perahia recording is more thick-textured than that of Pollini, and again I just have to go with the fact that Pollini manages the diffcult task of coupling absolute technical perfection with a deep understanding of these sonatas' other-worldly, emotionally ambiguous qualities.该Perahia录音更厚，质感比波里尼，并再次我只是去的事实是，波里尼管理难的任务耦合绝对的技术完善与深刻理解这些奏鸣曲的其他现世，情感暧昧素质。 There's definitely some Pollini out there that I am not fond of; his interpretations of early and middle-period Beethoven and the Diabelli Variations immediately come to mind.毫无疑问有一些波里尼，我不喜欢他的解释，早期和中期阶段贝多芬和迪亚贝利变奏曲立即浮现在脑海中。 Anything from the '70s and '80s is golden though, and taken overall, this is the best 2-CD set of Schubert's late sonatas out there (it also includes the Allegretto and the late Klavierstucke).任何从上个世纪70年代和80年代是金不过，并采取全面，这是最好的2 - CD的一套舒伯特的奏鸣曲后期有（其中还包括快板和已故Klavierstucke ） 。 It will bring endless satisfactions and joys.这将带来无穷的满足感和快乐。 专辑曲目 COMPACT DISC1 1-4 Klaviersonate c-moll D958 (op.posl.) Piano Sonata in Cminor·Sonate pour plano en ut mineur 5-8 Klaviersonate A-dur D 959 (op.post.) in a major·en la majeur COMPACT DISC 2 1-4 Klaviersonate B-dur D960(op.post.) in B flat major·en si bemol majeur 5 Allegretto c-moll D915 in C minor.en ut mineur 6-8 Drei Klavierstucke D 946 (op.post.) Three Piano Pieces·Trois pour piano |