Julian Bream -《西班牙音乐三百年》(Music of Spain)[6 CD set][APE]
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布林姆：吉他 【6CD】
英国吉他家朱利安布林姆出生於一九三三年，十四岁就举行第一场吉他公演，随后就被誉为英国吉他神童，半世纪以来，他与耶培斯、约翰威廉斯等人共同撑起吉他演奏界的天空，拓展了爱乐者的聆听经验与乐趣。在过去半世纪的吉他名家中，布里姆最大的贡献在於他吸引许多当代作曲家为吉他创作音乐，包括英国作曲家提佩特、布瑞顿等人，都因此贡献了许多作品给吉他。同时布里姆又对文艺复兴和巴洛克的鲁特琴音乐和室内音乐有深入的研究，除了灌录并推出鲁特琴独奏会以外，他也组成了古乐团体来演奏这类音乐。在这套六张ＣＤ中，就是布里姆在过六零和七零年代最经典的演奏，其中第一片是是路易米兰和纳瓦雷两人的文艺复兴时期鲁特琴作品、第二片是梭尔和阿瓜多的古典风格名曲、第三、四片则是布里姆亲自改编自国民乐派阿尔班尼士的钢琴名曲、以及洛贝特的作品。第五片又回到文艺复兴和巴洛克时代的鲁特琴名曲以及梭尔和阿瓜多的作品，第六片则是罗德利果的知名协奏曲和小品。全套产品完整性地聆听，名家名作的演出实在令人过癮。
ROS003 RCA ARC1-4378
Albeniz: Spanish Songs Bream, Julian,guitar USA
企鹅三星带花| Original Digital Recording
Music of Spain Vol. 5,包括Granados的音乐,1983年发行
Release Date: 09/06/2005
Label: Rca Victor Red Seal Catalog #: 67889 Spars Code: n/a
Composer: Joaquin Rodrigo, Luis de Milan, Luis de Narváez, Alonso de Mudarra, Fernando Sor,
Dionysio Aguado, Enrique Granados, Isaac Albeniz, Francisco Tarrega,
Joaquin Malats, Emilio Pujol-Villarrubi, Miguel Llobet, Joaquin Turina,
Santiago de Murcia, Luigi Boccherini
Performer: Julian Bream, Michael Winfield
Conductor: John Eliot Gardiner, Leo Brouwer
Orchestra/Ensemble: Chamber Orchestra of Europe, RCA Victor Chamber Orchestra
Number of Discs: 6
Recorded in: Stereo
Length: 6 Hours 11 Mins.
http://www.arkivmusic.com/albumpage/104364-E533-5
Orchestra: Chamber Orchestra of Europe, RCA Victor Chamber Orchestra
Conductor: John Eliot Gardiner, Leo Brouwer
Composer: Luis de Milan, Luys de Narvaez, Alonso de Mudarra, Fernando Sor, Dionysio Aguado, et al.
Audio CD
SPARS Code: DDD
Number of Discs: 6 cd box set
Format: APE (image+cue)
Label: RCA
ASIN: B0009U55QA
Performances are consistently elevated, the music making revealing of his fluid and technically impeccable command, and the colourful expressivity of his playing lends distinction and interest to everything he plays.
Admirers of the guitarist and lutenist will recognize these recordings from the voluminous RCA Julian Bream Edition. To have a distillation of that magnificent traversal is a pleasure, ranging as it does over a twenty-year plus period and covering the Iberian Baroque and Spanish repertoire. In particular readers will probably remember Bream’s The Guitar in Spain; Guitarra album with its clever and wide-ranging mix of Milán and Rodrigo, Mudarra and Sor, Boccherini (an honorary Iberian in this context) and Narváez.
Bream evokes the sound of the Renaissance guitar in many of these early Spanish works, not least Milán, Mudarra and Narváez – he actually plays lute on the first volume, the only occasion in this six disc set that he does so – before exploring the world of the Baroque guitar and its discernable difference from its predecessor. What remained essentially unchanged in Spanish music was a yen for variational form and this crops up throughout the set.
He evokes the full panoply of elegance and poignancy in the selection from El Maestro. There’s the stately nobility of Fantasia VIII and elsewhere a remarkable control of nuance and colour. In his sequence from Los seys libros del Delphin de Musica – there is at least one example from each book – we can but admire the gravity and control of the Fantasia from Book II , with its telling colouration in the lower strings, just as much as the beautifully timed runs of the Book V Ya se asiente el Rey Ramiro, with “noises off” from the shifts kept to a bare minimum.
Bream takes Sor’s long third movement variations at full value in his three movement Opp. 7, 9 and 30 (it’s a feature of this set that repertoire repetition is kept to a minimum though there is some with Sor). He makes great play of witty caesuri in the rippling opening Largo of the Op.7 Fantasie, vests the opening of the Mozart variations with dramatic arpeggios and does wondrous things with the three Pieces for guitar, an unassuming title if ever there was one, by Dionisio Aguado. In Bream's hands they have jewel-like brilliance and ornamental colour and in the case of the Introduction and Rondo, a fulsome panoply of virtuosic demands, all of which Bream tosses off seemingly dispassionately.
The third volume is given over to Granados and Albéniz in Bream's own now famed arrangements. La Maja de Goya (Tonadilla) is tremendously evocative, laced with the most buoyant of rhythm and constantly ear catching. Then there’s the melancholy veil that hangs over the Villanesca No.4 or, in contrast and despite its name, the extrovert Valses Poeticos with its luscious central panel. It’s enjoyable to hear Andaluza in something other than the Kreisler arrangement for violin and more then exciting to hear how Bream brings out the florid drama of Albéniz's Cataluña, from the Suite española.
Volume Four brings us some authentic scions of the Spanish guitar school and their allies. The dusky and sinuous Marieta of Tárrega is one of the highlights of this volume though no one will want to miss Recuerdos de la Alhambra.
The fifth volume is closely allied to the first, even down to some duplication. I should add that RCA's recording documentation is not the easiest to decipher and you will occasionally wonder, as I did, whether a set was recorded in 1964, say, or 1983 and in this context which came first – volume one or five (the answer here is volume one). Here he reprises his elevated skill as an interpreter of the Renaissance Iberian muse but there are also a few surprises, such as the multi-tracked Boccherini. The big Sor Grand Solo is played with enviable command and commanding elegance whilst the constant demands of the Rondo by Aguado are sumptuously met. The Sor Mozart Variations and the Op.7 Fantasie can be judged against the recordings of them on the second volume though one should note that RCA’s documentation leads one to believe that the re-make of Op.7 is here presented in its entirety – whereas only the opening movement is.
Finally we have the Rodrigo disc. Bream made multiple recordings of Concierto de Aranjuez and Fantasia para un Gentilhombre. For the latter he is accompanied by Leo Brouwer, whose concerto he successfully played and recorded (though not here). The stylistic acumen of the playing is self-evident, with tempos for the most part relaxed. In the Concierto he was joined by the then seemingly unlikely figure of John Eliot Gardiner (for his last recording he joined Simon Rattle) and they collaborate in a winningly noble reading, spacious and evocative.
Though the recording locations and dates make for a disparate collection, and though there is some overlap between discs, this is a self-recommending set, especially for those who didn’t collect the RCA Bream Edition. Performances are consistently elevated, the music making revealing of his fluid and technically impeccable command, and the colourful expressivity of his playing lends distinction and interest to everything he plays.
- Jonathan Woolf, MusicWeb International
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Julian Bream, CBE (born 15 July 1933), is an English classical guitarist and lutenist and is one of the most distinguished classical guitarists of the 20th century. He has also been successful in renewing popular interest in the Renaissance lute.
专辑介绍:
布林姆：吉他 【6CD】
英国吉他家朱利安布林姆出生於一九三三年，十四岁就举行第一场吉他公演，随后就被誉为英国吉他神童，半世纪以来，他与耶培斯、约翰威廉斯等人共同撑起吉他演奏界的天空，拓展了爱乐者的聆听经验与乐趣。在过去半世纪的吉他名家中，布里姆最大的贡献在於他吸引许多当代作曲家为吉他创作音乐，包括英国作曲家提佩特、布瑞顿等人，都因此贡献了许多作品给吉他。同时布里姆又对文艺复兴和巴洛克的鲁特琴音乐和室内音乐有深入的研究，除了灌录并推出鲁特琴独奏会以外，他也组成了古乐团体来演奏这类音乐。在这套六张ＣＤ中，就是布里姆在过六零和七零年代最经典的演奏，其中第一片是是路易米兰和纳瓦雷两人的文艺复兴时期鲁特琴作品、第二片是梭尔和阿瓜多的古典风格名曲、第三、四片则是布里姆亲自改编自国民乐派阿尔班尼士的钢琴名曲、以及洛贝特的作品。第五片又回到文艺复兴和巴洛克时代的鲁特琴名曲以及梭尔和阿瓜多的作品，第六片则是罗德利果的知名协奏曲和小品。全套产品完整性地聆听，名家名作的演出实在令人过癮。
ROS003 RCA ARC1-4378
Albeniz: Spanish Songs Bream, Julian,guitar USA
企鹅三星带花| Original Digital Recording
Music of Spain Vol. 5,包括Granados的音乐,1983年发行
Release Date: 09/06/2005
Label: Rca Victor Red Seal Catalog #: 67889 Spars Code: n/a
Composer: Joaquin Rodrigo, Luis de Milan, Luis de Narváez, Alonso de Mudarra, Fernando Sor,
Dionysio Aguado, Enrique Granados, Isaac Albeniz, Francisco Tarrega,
Joaquin Malats, Emilio Pujol-Villarrubi, Miguel Llobet, Joaquin Turina,
Santiago de Murcia, Luigi Boccherini
Performer: Julian Bream, Michael Winfield
Conductor: John Eliot Gardiner, Leo Brouwer
Orchestra/Ensemble: Chamber Orchestra of Europe, RCA Victor Chamber Orchestra
Number of Discs: 6
Recorded in: Stereo
Length: 6 Hours 11 Mins.
http://www.arkivmusic.com/albumpage/104364-E533-5
Orchestra: Chamber Orchestra of Europe, RCA Victor Chamber Orchestra
Conductor: John Eliot Gardiner, Leo Brouwer
Composer: Luis de Milan, Luys de Narvaez, Alonso de Mudarra, Fernando Sor, Dionysio Aguado, et al.
Audio CD
SPARS Code: DDD
Number of Discs: 6 cd box set
Format: APE (image+cue)
Label: RCA
ASIN: B0009U55QA
Performances are consistently elevated, the music making revealing of his fluid and technically impeccable command, and the colourful expressivity of his playing lends distinction and interest to everything he plays.
Admirers of the guitarist and lutenist will recognize these recordings from the voluminous RCA Julian Bream Edition. To have a distillation of that magnificent traversal is a pleasure, ranging as it does over a twenty-year plus period and covering the Iberian Baroque and Spanish repertoire. In particular readers will probably remember Bream’s The Guitar in Spain; Guitarra album with its clever and wide-ranging mix of Milán and Rodrigo, Mudarra and Sor, Boccherini (an honorary Iberian in this context) and Narváez.
Bream evokes the sound of the Renaissance guitar in many of these early Spanish works, not least Milán, Mudarra and Narváez – he actually plays lute on the first volume, the only occasion in this six disc set that he does so – before exploring the world of the Baroque guitar and its discernable difference from its predecessor. What remained essentially unchanged in Spanish music was a yen for variational form and this crops up throughout the set.
He evokes the full panoply of elegance and poignancy in the selection from El Maestro. There’s the stately nobility of Fantasia VIII and elsewhere a remarkable control of nuance and colour. In his sequence from Los seys libros del Delphin de Musica – there is at least one example from each book – we can but admire the gravity and control of the Fantasia from Book II , with its telling colouration in the lower strings, just as much as the beautifully timed runs of the Book V Ya se asiente el Rey Ramiro, with “noises off” from the shifts kept to a bare minimum.
Bream takes Sor’s long third movement variations at full value in his three movement Opp. 7, 9 and 30 (it’s a feature of this set that repertoire repetition is kept to a minimum though there is some with Sor). He makes great play of witty caesuri in the rippling opening Largo of the Op.7 Fantasie, vests the opening of the Mozart variations with dramatic arpeggios and does wondrous things with the three Pieces for guitar, an unassuming title if ever there was one, by Dionisio Aguado. In Bream's hands they have jewel-like brilliance and ornamental colour and in the case of the Introduction and Rondo, a fulsome panoply of virtuosic demands, all of which Bream tosses off seemingly dispassionately.
The third volume is given over to Granados and Albéniz in Bream's own now famed arrangements. La Maja de Goya (Tonadilla) is tremendously evocative, laced with the most buoyant of rhythm and constantly ear catching. Then there’s the melancholy veil that hangs over the Villanesca No.4 or, in contrast and despite its name, the extrovert Valses Poeticos with its luscious central panel. It’s enjoyable to hear Andaluza in something other than the Kreisler arrangement for violin and more then exciting to hear how Bream brings out the florid drama of Albéniz's Cataluña, from the Suite española.
Volume Four brings us some authentic scions of the Spanish guitar school and their allies. The dusky and sinuous Marieta of Tárrega is one of the highlights of this volume though no one will want to miss Recuerdos de la Alhambra.
The fifth volume is closely allied to the first, even down to some duplication. I should add that RCA's recording documentation is not the easiest to decipher and you will occasionally wonder, as I did, whether a set was recorded in 1964, say, or 1983 and in this context which came first – volume one or five (the answer here is volume one). Here he reprises his elevated skill as an interpreter of the Renaissance Iberian muse but there are also a few surprises, such as the multi-tracked Boccherini. The big Sor Grand Solo is played with enviable command and commanding elegance whilst the constant demands of the Rondo by Aguado are sumptuously met. The Sor Mozart Variations and the Op.7 Fantasie can be judged against the recordings of them on the second volume though one should note that RCA’s documentation leads one to believe that the re-make of Op.7 is here presented in its entirety – whereas only the opening movement is.
Finally we have the Rodrigo disc. Bream made multiple recordings of Concierto de Aranjuez and Fantasia para un Gentilhombre. For the latter he is accompanied by Leo Brouwer, whose concerto he successfully played and recorded (though not here). The stylistic acumen of the playing is self-evident, with tempos for the most part relaxed. In the Concierto he was joined by the then seemingly unlikely figure of John Eliot Gardiner (for his last recording he joined Simon Rattle) and they collaborate in a winningly noble reading, spacious and evocative.
Though the recording locations and dates make for a disparate collection, and though there is some overlap between discs, this is a self-recommending set, especially for those who didn’t collect the RCA Bream Edition. Performances are consistently elevated, the music making revealing of his fluid and technically impeccable command, and the colourful expressivity of his playing lends distinction and interest to everything he plays.
- Jonathan Woolf, MusicWeb International
Julian Bream, CBE (born 15 July 1933), is an English classical guitarist and lutenist and is one of the most distinguished classical guitarists of the 20th century. He has also been successful in renewing popular interest in the Renaissance lute.