Alfred Brendel & Sir Charles Mackerras -莫札特：第廿、廿一号钢琴协奏曲(Mozart Piano Concertos K271 and K503)[SACD-r]

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资源信息：
        专辑英文名: Mozart Piano Concertos K271 and K503
专辑中文名: 莫札特：第廿、廿一号钢琴协奏曲
艺术家: Alfred Brendel & Sir Charles Mackerras
古典类型: 全集作品
版本: [SACD-r]
发行时间: 2003年02月11日
地区: 美国
语言: 英语
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概述:

[B]专辑介绍:[/B]
莫札特的钢琴奏曲听似简单，对演奏者而言却是极为严苛的考验。这也是为何儘管有许多钢琴家能够演奏技巧艰难，运指如飞的现代钢琴协奏曲作品，但却未曾演奏莫札特协奏曲的原因所在。对布兰德尔而言，莫札特显然是他的最爱；举世能够同时完美詮释李斯特与莫札特的钢琴家，舍布兰德尔其谁？本辑收录了二首莫札特最膾炙人口的钢琴协奏曲，分别是第廿、廿四号。今天重新浏览布兰德尔经典的莫札特演奏，别有一番纪念价值。至於此版得奖无数的过去，早已是眾所週知的往事了。
在世界舞台 驰骋60年 指尖之下 内藏诗意与清新
　　布兰德尔被公认是当今乐坛最重要的海顿、莫札特、舒伯特、贝多芬与李斯特钢琴音乐詮释者之一。他是第一位录制贝多芬钢琴作品全集的钢琴家，也是重新赋予舒伯特钢琴奏鸣曲以及荀白克钢琴协奏曲地位的人。
　　这位完全靠自学成为钢琴家的当代大师，17岁即藉自行筹办的独奏会，向音乐界宣告他的到来。儘管纯靠自学，却能在18岁参加第四届布梭尼钢琴大赛拿下第四名，21岁就拿到唱片录音合约，日后更成为二十世纪唯一连续灌录三次贝多芬钢琴奏鸣曲全集的大师。
　　布兰德尔於1931年出生於捷克摩拉维亚北方的威森堡（Wiesenberg），六岁在札格雷（Zagreb）跟随德泽利克学习钢琴，二次大战期间定居於格拉茨（Graz），14岁时，曾被送到南斯拉夫挖掘战壕。在格拉茨音乐院师从卡恩学习钢琴，并拜师米赫尔学习作曲，并在大师班跟随费雪（Edwin Fischer）与史都尔曼（Eduard Steuermann）学习。布兰德尔正式的学校音乐教育只有两年，往后则全靠自学。
　　1948年第一次在格拉茨登臺演出，1949年在布梭尼国际钢琴大赛中获奖。得奖后的布兰德尔开始在欧洲各地巡迴演出，1958年首次在伦敦登臺。1960年至1963年，布兰德尔首度录下贝多芬32首钢琴奏鸣曲，并获得法国唱片大奖，1973年第一次在卡内基音乐厅演出。自1970年起定居伦敦，巡迴演出的范围也扩及到全世界。
音乐之外 情感对於音乐家而言 更为重要
　　除了音乐，布兰德尔对於文学也感兴趣，1976年出版一本短文集《音乐的思考与反思》（Musical thoughts & afterthoughts），他表示：「虽然理性思考对音乐来说是必要而有趣的，但我觉得情感对音乐家来更重要。」1990年出版第二本书《音乐之外》（Music Sounded Out）。
　　2008年12月18日於维也纳演奏完莫札特第9号钢琴协奏曲之后，高龄七十七岁的奥地利钢琴家布兰德尔宣布自此从舞台上隐退。2008年起推出一系列告别巡迴演出，而告别的终点，12月18日的音乐会，就选在最爱给杰出的音乐家热烈掌声、同时也拥有最苛酷品鑑能力的维也纳。他说自己在世界舞台驰骋六十年，现在正是画下句点的时候，「我想在急流时勇退，而不是等到我身体官能开始退化后才离开。」
　　时代杂誌曾经评论布兰德尔演奏的贝多芬《月光》奏鸣曲：「布兰德尔可以集钢琴家、演员於一身，当他弹奏《月光》奏鸣曲的同时，也有能耐在舞台上演出《哈姆雷特》，令所有听眾的情绪都跟著他走。如何完美呈现作曲家所要求的原音而不标新立异呢？以布兰德尔来说，他丰富的情感让我们不只听到一首熟悉的乐曲，还像听到一个二十年不曾开口说话的人突然张口说话一般，充满新鲜与惊奇。」
　　布兰德尔的指尖下，内藏的诗意与清新，充分反应他在钢琴家之外的另一个身分─作家。他说，离开舞台后，将投入更多时间写作、演讲，及提拔后进。而他的名字也将永远为人所怀念，也将永远在钢琴音乐录音史上占有一席之地。
Mozart: Piano Concertos No.9, K271 ”Jeunehomme” ＆ No.25, K503/ Alfred Brendel (SACD)
莫札特：第廿、廿一号钢琴协奏曲/ 布兰德尔 (SACD)
发行公司：Philips
演出者：莫札特 Wolfgang Amadeus Mozart、布兰德尔 Alfred Brendel、马克拉斯 Sir Charles Mackerras、苏格兰室内管弦乐团 Scottish Chamber Orchestra
产品编号：4706162
发行日期：2003/01/01
张数：1 张 - 1SACD
Plays on SACD & CD PLAYERS
Wolfgang Amadeus Mozart 1756-1791
Piano Concerto No.9 in E flat major, K271 "Jeunehomme"
Piano Concerto No.25 in C major, K503
Alfred Brendel, Piano
Sir Charles Mackerras
Scottish Chamber Orchestra
商品条码 : 0028947061625
商品编号 : 4706162
演奏者 : 布兰德尔 - 查看所有专辑
指挥家 : 马克拉斯
乐团 :
作曲家 : 莫札特 Mozart - 查看所有专辑
专辑名称 : 莫札特:第九＆二十五号钢琴协奏曲(SACD)
Piano Concertos No.9(K.271) ＆ No.25(K.503)
音乐类型 : 古典音乐 [SACD ]
发行公司/日期 : 环球　

Audio CD (February 11, 2003)
Please Note: Requires SACD-compatible hardware
Number of Discs: 1
Format: Hybrid SACD - DSD, Super Audio CD - DSD
Label: Philips
ASIN: B000079BGD
Not long ago I was reviewing a Brilliant Classics set (99351) of Brendel’s Vanguard recordings (6 CDs), including his 1966 version of K.271 with I Solisti di Zagreb conducted by Antonio Janigro. That performance had a humming vitality which already marked it out. The remarkable thing is that thirty-five years later Brendel has lost none the freshness of his early maturity, and added a whole range of insights as well.
I will just try to list a few of them. Shortly after his entry in the first movement (his entry proper, not the few "surprise" bars that the piano has, alone among Mozart concertos, at the very start), his left-hand passage work glistens the first time round, but now it takes into account all the shifts of harmony. Then, at the second subject, while previously the left-hand was subdued to a barely-audible murmur (the sort of balance between the hands we lesser mortals try to obtain), now, without any exaggeration, he lets us hear how the melody is accompanied by triplets whereas at its first appearance, on the orchestra, the accompaniment consisted of simple quavers.
I noted of the 1966 performance that the slow movement did not attempt the hushed proto-romantic atmosphere of Géza Anda’s recording, but enquired profoundly into the harmonic make-up of the music. Now Brendel digs no less deeply into these intellectual matters and provides a hushed proto-romantic atmosphere. For this Sir Charles Mackerras deserves equal praise and in comparison I must say that Janigro, joyfully positive in allegros, maybe lacked a mite of poetry in a movement like this.
In the finale I particularly noted the way Brendel seemingly stumbles across the new minuet tempo as if it’s the last thing he expected to find there. It is unusual, of course, but how remarkable to maintain that sense of quixotic wonder after a lifetime of playing the piece.
Unquestionably, this new performance is the more searching, the more complete of the two (and the recording is fuller and rounder, though the old one is pretty good for the date), but you will learn such a lot about the music by having both and listening to how and why it is better that I can only urge you to get the Brilliant Classics set (an incredible bargain in any case) as well. What I don’t have to hand, unfortunately, is the recording from Brendel’s first cycle with Marriner, so I am unable to report how many of these new insights were already in place by then.
Mackerras on his own, we know, is inclined to be a brisk, vital Mozartian, but he shows his very great skill in K.503 by seeing that Brendel’s rather broad tempi never drag or become heavy. This is a performance that respects Mozart’s maestoso in the first movement without ever trying to make the concerto sound like proto-Beethoven. There is an Olympian calm about it all, and also great inventiveness from Brendel as he refines and decorates the text and yet avoids any sense of mannerism. His embellishments to the slow movement are fascinating and I laughed out loud at one point in the finale. I must also mention the first movement cadenza (by Brendel himself) where he goes quite outrageously beyond any Mozartian harmonic scheme and yet remains totally in keeping with the character of the music.
Again, I haven’t been able to check out his earlier versions, but in any case, while Brendel in his mid-seventies continues to perform with such rightness and such character, even if you have every other version of these two works that has ever been made, you should get this one too.
The notes by Wolfgang Rehm (in English, French and German) are good though his insistence on the "brilliance" of K.503 suggests that, as so often happens, he had not actually been able to hear the performance he was writing for.
Christopher Howell



专辑曲目:
1. Piano Concerto No. 9 in E flat major ('Jeunehomme,' 'Jenamy'), K. 271: I. Allegro
2. Piano Concerto No. 9 in E flat major ('Jeunehomme,' 'Jenamy'), K. 271: II. Andantino
3. Piano Concerto No. 9 in E flat major ('Jeunehomme,' 'Jenamy'), K. 271: III. Rondeau: Presto - Menuetto: Cantabile - Tempo primo
4. Piano Concerto No. 25 in C major, K. 503: I. Allegro maestoso
5. Piano Concerto No. 25 in C major, K. 503: II. Andante
6. Piano Concerto No. 25 in C major, K. 503: III. [Allegretto]