Michael Rabin -《拉宾演绎布鲁克协奏曲等》[原版CD抓轨][ACL发布分流小组][FLAC]
![Michael Rabin -《拉宾演绎布鲁克协奏曲等》[原版CD抓轨][ACL发布分流小组][FLAC]](/Uploads/35/350/350154.jpg)
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| Michael.Rabin.-.[Bruchs.Violin.Concerto.and.Virtuoso.Pieces.for.Violin.and.Piano](FLAC).rar | 320.52 MB |
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| Michael.Rabin.-.[Bruchs.Violin.Concerto.and.Virtuoso.Pieces.for.Violin.and.Piano](FLAC).rar | 320.52MB |
| 320.52MB | |
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资源分类: | 音乐 >> 古典音乐 >> 协奏曲 |
中文名称: | 拉宾演绎布鲁克协奏曲等 |
英文名称: | Michael Rabin plays Bruch's Violin Concerto and Virtuoso Pieces for Violin and Piano |
资源格式: | FLAC |
版本说明: | [原版CD抓轨][ACL发布分流小组] |
艺 术 家: | Michael Rabin |
发行时间: | 2009 |
资源简介: | |
[attachment=17522:95607_600.jpg] 本专辑是新发现的录音，以往的LP没有发行过，EMI的6CD Rabin也没有收录。很具有收藏价值。 一下为一些介绍，我就不翻译了。 严禁转到某C！ Michael Rabin 的个人生平： Michael Rabin was a virtuoso of the highest order, one of the most talented violinists of the twentieth century. A child prodigy, he performed in public for the first time aged only eleven. From the early 1950s, Rabin gave concerts across the globe and made numerous recordings, including the complete Paganini Caprices. He worked himself into a state of exhaustion, going through a crisis in the 1960s which temporarily compromised his playing. However, Rabin managed to recover and return to his former glory. These recordings, made by the RIAS and released here for the first time, document his comeback in an impressive manner. The live recording of Max Bruch’s First Violin Concerto, made in the Berlin Philharmonie, is of particular interest as Rabin never made an LP recording of it. In the short virtuoso pieces, the violinist － who died at a tragically young age － demonstrates himself to have been a romantic virtuoso par excellence: he displays a sensuous tone and an enthralling technique. There is a “Producer’s Comment” from producer Ludger Böckenhoff about this production available. The production is part of our series „Legendary Recordings“ and bears the quality feature „1st Master Release“. This term stands for the excellent quality of archival productions at audite. For all historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, which attain an astonishingly high quality, even measured by today‘s standards, with their tape speed of up to 76 cm/sec. The remastering － professionally competent and sensitively applied － also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. CD publications based on private recordings from broadcasts cannot be compared with these. Peter Joelson (Audiophile Audition - July 25, 2009) 25.07.2009的评论： Michael Rabin made some wonderful recordings for EMI/Capitol and Columbia in the 1950s and this release of a live performance of Bruch's First violin concerto is all the more valuable as Rabin didn't set down a studio performance of it. Ably accompanied by Thomas Schippers on 16/17 June 1969 Rabin opens with big tone and slow tempo setting the scene for a reading far from a superficial play through. Rabin's intonation is breathtaking, as always, and his view of the whole work the result of much thought; there are no “here's a good bit” or “look how fast I can play this” moments. Norbert Horning, in his excellent essay accompanying this release, says Rabin's bow “almost sucks the sound out of the strings” of his instrument, the Guarnerius del Gesu of 1735 ("The Townley") now owned by Kyung Wha Chung. The quick passages in the last movement show his infallible technique off to a tee. And this technique is on show, too, in the “Virtuoso Pieces for Violin and Piano”. These were all recorded a few days earlier, on 12 June 1969, apart from the last piece, the Havanaise, which dates from an earlier visit during 1962. People can be a bit sniffy about virtuoso showpieces; in 1949 Kurt Weinhold wrote to Carl Jung about Gerhard Taschner “Please give him my sincere greetings, and tell him he should no longer play these virtuoso pieces; it sounds too pitiful and is not worthy of him. He does enormous harm to himself with them among all those who know their music.” Thank goodness Taschner did not heed the advice, and Rabin never felt above playing these pieces in the studio, in concert and on radio and television. The delights here are in the middle section of “Banjo and Fiddle”, the bow control in the Sarasate pieces, and an unbuttoned Havanaise. Rabin had been ill between the recording of the Havanaise and the rest of the items here, reviving his career in the latter part of 1967; the later Rabin is less volatile and more thoughtful. The virtuoso pieces are well recorded, all the 1969 ones in stereo, the piano a little backwardly balanced. The concerto's sound is quite good, though the orchestral sound is somewhat recessed, but is more than good enough to convey music-making of great quality. Mastered from the original tapes, these recordings supplement Doremi's recent release and are another valuable addition to Rabin's discography. Jonathan Woolf ( www.musicweb-international.com - Friday July 10th 2009) 10.07.2009的评论： Rabin has been increasingly well served of late, not least by smaller, dedicated labels such as Medici, Doremi and now, as here, Audite. The Doremi issue contained sonatas with, as in this case, Lothar Broddack, recorded by RIAS in Berlin in October 1961 and 1962 whilst the Medici enshrined commercial recordings made in London and Hollywood 1959 and 1960. So the RIAS broadcasts are beginning to open up a very promising outlet for live Rabin, caught during his European tours, especially when something new to the commercial discography emerges. In this case it’s the major addition of the Bruch G minor concerto, in which he was joined by the RIAS-Symphonie-Orchester and Thomas Schippers. By 1969 Rabin had begun to recover from the damaging problems that had begun to assail him from around 1962. As one would expect this is an example of adroit technical address and musicality. Rabin was never a speed merchant - though he could have been had he wanted to be - and despite a reputation for firework repertoire based on his Paganini recordings he was a sensitive and dedicated violinist. No wonder Perlman admired him so much. Rhythmically malleable and subtly coloured this Bruch performance is a notable addition to Rabin’s relatively small discography. Orchestrally things are not as refined or blended as they might be. And despite the breadth of tonal resources in the slow movement and the personalised finger position changes - rather Heifetz orientated - this isn’t quite the best of Rabin. The finale is relatively restrained and the ethos a little depersonalised, and lacking the vibrant incision of his better, earlier years. This is shown in graphic relief if one turns briefly to the Havanaise recorded in the troubled year of 1962. True, this is a febrile performance that some times borders on the brash but the more volatile and even vulnerable nature of the playing carries a hugely personalised charge that compels interest. It’s the only example from this period, the remaining items deriving from 1969. There are still plenty of engaging things though in the rather confectionery-light programme. Rabin imparts a saucy B section to fellow violinist William Kroll’s echt Americana in Banjo and Fiddle and he serves up a rich cantilena in the Tchaikovsky. Which leaves the Sarasate sequence. The Carmen Fantasia is the kind of thing assumed, lazily, that Rabin habitually trotted out to the exclusion of deeper repertoire whilst the three Danzas Españolas allow him to revel in contrasts between his rich lower register and an insouciantly whistling upper. Of the three, Zapateado is played with something near panache but one can imagine a wider range of tone colours from his earlier self. The Bruch concerto though makes this an essential purchase for Rabin collectors. 专辑曲目 BRUCH, MAX Violin Concerto No. 1 in G minor, Op. 26 1.Vorspiel. Allegro moderato 2.Adagio 3.Finale. Allegro energico – Presto WIENIAWSKI, HENRYK 4.Banjo and Fiddle 5.Caprice in A minor, Op. 18 No. 4 TCHAIKOVSKY, PETER ILYICH 6.Méditation. Andante molto cantabile SARASATE, PABLO DE 7.Carmen-Fantasie, Op. 25 8.Malagueña, Op. 21 No. 1 9.Habanera Op. 21, No. 2 10.Zapateado, Op. 23 No. 2 SAINT-SAëNS, CAMILLE 11.Havanaise in E major, Op. 83 |