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资源信息：
专辑英文名: Muczynski - Chamber Music
专辑中文名: Muczynski - 室内乐
艺术家: Petrucci, Kanasevich, Racz, Samogray
古典类型: 室内乐
资源格式: APE
发行时间: 2017年04月28日
地区: 美国
语言: 英语
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概述:
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[B]专辑介绍:[/B]
MUCZYNSKI：幻想三重奏，Op。 26.大提琴和钢琴奏鸣曲。长笛和单簧管。单簧管和钢琴的时间片。长笛和钢琴奏鸣曲/ Ginevra Petrucci，笛子; Glen Kanasevich，单簧管;大提琴家Dorotea Racz Dmitry Samogray，钢琴家/辉煌经典95433
罗伯特·穆奇斯基（Robert Muczynski）（1929 - 2010年）的音乐并不像现在那样熟悉听眾，总是欢迎听到，而这本关于辉煌经典的新作品却令人惊讶。
曾与Walter Knupfer和Alexander Tcherpenin一起学习的Muczynski於1965年加入亚利桑那大学的作曲系，在那里呆了23年。他的协奏曲中音萨克斯管和乐团被提名，但没有赢得普利策奖的音乐。他经常被认为是战后美国最杰出的新古典主义作曲家之一。他的音乐本质上是音调，但是由於他的和弦位置的不断变化和这些和弦的旋转，他的音乐听起来不安和现代。他也非常喜欢不规则的米，有5或7个跳动的酒吧，这进一步使听力过程复杂化。
这张CD上的作品是他的输出的典型，并且由这个热心的年轻音乐家组成的，具有极大的敏感度和精度。意大利绅士Ginevra Petrucci，美国的单簧管（作曲家）Gleb Kanasevich，克罗地亚的大提琴家Dorotea Racz和美国钢琴家Dmitry Samogray，在这里表演为两件或三重奏的各种作品，给出了这些吸引人的，棘手的得分的精确，精美的阐释。作为一名钢琴演奏家，萨莫格雷（Samogray）是我喜欢表现为“室内音乐专家”的球员，很像Menahem Pressler;他有一种流畅流畅的技术，但大体上保持在一个相对狭窄的动态和情感范围内，这使得他作为室内音乐家绝对完美。 Samogray的特殊才能完全展现在与Racz的大提琴奏鸣曲中，他在自己的限制范围内显示了他对线条和颜色的掌握。
由於Muczynski不规则的音乐和自然倾向於节奏驱动的音乐，Muczynski的音乐倾向於前卫和精力充沛。只有缓慢的运动或缓慢的介绍，他放鬆了脚步，放鬆了这种美学，但不知何故，它们都在一起，并且使它奏效。例如，即使在大提琴奏鸣曲的Scherzo中，使用相当传统的3/4或3/8节奏，Muczynski改变和声的倾向使得听眾坐起来并注意力。他的音乐中总是发生了一些事情
与之前的作品相反，“长笛与单簧管”（Duo for Flute＆Clarinet）是一款基本上机智的作品，充满了两种乐器之间的俏皮猫咪追逐。只有沉重的“Allegro molto”才是认真的感觉。单簧管和钢琴的时间也有他们的俏皮的一面，但比嘲笑更加驱动。 Muczynski的一个更可爱的品质是简洁的;他的音乐不但没有表现出来，甚至在五分鐘以上的动作中，也很少像“调出”一样。对我来说，这是一个很好的作曲家的标誌，原因（除了他的bathos和宗教信仰）为什么我非常不喜欢布鲁克纳。
长笛奏鸣曲也灵动而充满活力;事实上，我很惊讶Muczynski能够从相同的基本风格组合中提取出多少。可以说，他的“品牌”可能会在每一件作品中使用类似的装置来重复，但至少在这些作品的限制之内，人们所获得的印象就是喜悦而不是déjàvu。
总而言之，这是一个很好的专辑。令人惊讶的是，好玩的音乐人才是真正有才华的年轻音乐家。谁能再问一次？
- ©2017 LynnRenéBayley
Classical Apr 28, 2017
MUCZYNSKI: Fantasy Trio, Op. 26. Sonata for Cello & Piano. Duos for Flute & Clarinet. Time Pieces for Clarinet & Piano. Sonata for Flute & Piano / Ginevra Petrucci, flautist; Glen Kanasevich, clarinetist; Dorotea Racz, cellist; Dmitry Samogray, pianist / Brilliant Classics 95433
The music of Robert Muczynski (1929-2010), not being as familiar with audiences as it should be, is always welcome to hear, and this new collection on Brilliant Classics is surprisingly good.
Muczynski, who studied with Walter Knupfer and Alexander Tcherpenin, joined the composition faculty at the University of Arizona in 1965 and stayed there for 23 years. His Concerto for Alto Saxophone and Orchestra was nominated for, but did not win, a Pulitzer Prize in music. He is frequently referred to as one of the most distinguished neoclassical composers in postwar America. His music is essentially tonal, but due to his constant shifting of chord positions and pivoting within those chords, his music sounds restless and modern. He was also very fond of irregular meters with 5 or 7 beats to the bar, which further complicated the listening process.
The works on this CD are typical of his output, and are played with tremendous sensitivity as well as precision by this enthusiastic group of young musicians. Italian flautist Ginevra Petrucci, American clarinetist (and composer) Gleb Kanasevich, Croatian cellist Dorotea Racz and American pianist Dmitry Samogray, here performing as a duo or trio in the various pieces, give committed, beautifully articulated readings of these appealing yet tricky scores. As a pianist, Samogray is the kind of player I like to characterize as a “chamber music specialist,” much like Menahem Pressler; he has a fluid and fluent technique, but by and large stays within a relatively narrow dynamic and emotional range, which makes him absolutely perfect as a chamber musician. Samogray’s special talents are fully on display in the Cello Sonata with Racz, in which he shows his mastery of line and color within his self-imposed limits.
Muczynski’s music tended to sound edgy and energetic both as a result of his irregular meters and his natural proclivity towards rhythm-driven music. Only in the slow movements or slow introductions did he relax his pace and ease up on this aesthetic, yet somehow it all dovetailed together and he made it work. Even in the Scherzo of the Cello Sonata, for instance, using a fairly conventional 3/4 or 3/8 rhythm, Muczynski’s tendency towards altered harmonies makes the listener sit up and pay attention. There was always something going on in his music!
By contrast with the preceding pieces, the Duo for Flute & Clarinet is an essentially witty piece, full of playful cat-and-mouse chases between the two instruments. Only the pensive “Allegro molto” is serious in feeling. The Time Pieces for clarinet and piano also have their playful side, but are more driven than jocular. One of Muczynski’s more endearing qualities was conciseness; his music said no more and no less than it had to, thus even in the movements at or over five minutes, one rarely feels like “tuning out.” For me, this is always the mark of a good composer, which is one of the reasons (aside from his bathos and religiosity) why I so heartily dislike Bruckner.
The Flute Sonata is also sprightly and energetic; indeed, I was amazed at how much Muczynski was able to extract from the same basic style of composition. His “brand,” so to speak, might tend to be repetitious by using similar devices in every piece, yet at least within the confines of these works the impression one gets is that of delight rather than déjà vu.
All in all, then, an excellent album all round. Surprising, good music played by really talented young musicians who seem to enjoy it. Who could ask for anything more?
—© 2017 Lynn René Bayley
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专辑曲目:
Robert Muczynski (1929-2010): Fantasy Trio, Op. 26:
01. I. Allegro energico02:52
02. II. Andante con espressione03:02
03. III. Allegro deciso01:53
04. IV. Introduction and Finale. Andante molto e sostenuto03:52
Sonata, Op. 25:
05. I. Theme and Variations. Andante sostenuto08:27
06. II. Scherzo. Allegro grazioso03:01
07. III. Andante sostenuto04:59
08. IV. Allegro con spirit03:06
Duos, Op. 24:
09. I. Andante sostenuto01:15
10. II. Allegro risoluto01:05
11. III. Moderato01:44
12. IV. Allegro ma non troppo00:57
13. V. Andante molto02:04
14. VI. Allegro01:23
Time Pieces, Op. 43:
15. I. Allegro risoluto02:36
16. II. Andante espressivo05:49
17. III. Allegro moderato02:01
18. IV. Introduction. Andante molto - Allegro energico05:04
Sonata, Op. 14:
19. I. Allegro deciso03:53
20. II. Scherzo. Vivace01:55
21. III. Andante04:12
22. IV. Allegro con moto03:25 |
