(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 價格比較,價格查詢,歷史價格詳細信息

(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 價格比較,價格查詢,價格歷史信息

Name: (BIS) 孟德爾頌 無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983
SKU: 38304577-1974903430

(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 規格

(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 最新價格

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(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 歷史價格(單位:新台幣)

(BIS) 孟德爾頌無言歌鋼琴曲集 Mendelssohn Lieder ohne Worte SACD1983 描述

專輯類型： 1SACD 發行年份： 2016 國際條碼： 7318599919836 音樂廠牌： BIS 19世紀初許多作曲家開始從文學領域汲取靈感創作新類型的樂曲：蕭邦的《敘事曲》、舒曼的《故事曲集》還有之後李斯特的《交響詩》皆屬此等範疇，這股浪漫主義潮流的推波助瀾讓這類作品結合來自不同領域的藝術。 1828年孟德爾頌在姐姐芳妮生日時特地致贈她一首「無言歌」做為賀禮，這項發明堪稱是他的創舉。之後他陸續寫了多首無言歌，集結出版後多達六冊，而且每冊都包含六首作品。這些作品不僅在業餘和職業鋼琴家之間造成極大的風潮，就連聽眾也不例外。即便孟德爾頌1847年過世後，《無言歌》依舊深受世人喜愛，波昂的出版商辛洛克(Simrock)很快又將腦筋動到其他作曲家原本打算之後出版的作品，他將這些作品收成兩冊出版，並且維持每冊六首的慣例，也就是本輯內的第七冊和第八冊。孟德爾頌有針對少數歌曲安插敘述的副標題名稱，但他的目標並非是用音樂取代文字訴說既有的故事，而是希望能交流某些只有音樂能傳達的東西。對孟德爾頌來說，音樂的表現可以比語言還要來得更為正確－他曾經這麼說「我喜歡用音樂表達想法並非是因為文字太模糊，而是因為太精準。」布勞提岡2012年發行第1～4冊的錄音，國際唱片評論雜誌( International Record Review)說「你很難找到比這張更生動或是更詩情畫意的演出了」，同時www.klassik-heute.com網站也給予藝術、音響、整體印象皆為10分的滿分推薦，時隔四年這張續集除了收錄無言歌五到八冊，也一併收錄多首孟德爾頌的鋼琴小品。此外，與第一集相同，本輯同樣採用保羅．麥克諾提製作的1830年普萊耶平台鋼琴複製品，以期能忠實呈現孟德爾頌時代的鋼琴音色－在詮釋簡單抒情的小品時可以明亮滑順，但在某些充滿技巧的激動段落時也能立刻轉換毫無保留的將力道發揮。如此精彩的續作，你豈有錯過的道理？！(葛斐德編譯) Ronald Brautigam, piano During the early 19th century a number of composers began to write in new genres inspired by literature: Chopin's Ballades, Schumann's Novelletten and, later, Liszt's symphonic poems are all examples of this Romantic urge to create works that transcend the divide between the arts. In 1828 Felix Mendelssohn invented a genre of his own, when he presented his sister Fanny with a 'song without words' for her birthday. He went on to compose a large number of such Lieder ohne Worte and published no less than six sets of six pieces each. These became immensely popular with amateur and professional pianists, as well as with their respective audiences. Mendelssohn's death in 1847 did not affect the huge demand for the pieces, and the publisher Simrock soon issued another two sets, compiled from pieces that the composer had set aside for later publication. Mendelssohn himself supplied a few of the songs with more or less descriptive subtitles, but his aim was not to tell an existing story in music instead of words, but rather to communicate something that could only be conveyed through music. To Mendelssohn, music was more exact than language – in his own words: 'the music I love expresses ideas that are not too vague to be captured in words, but on the contrary too precise.' When Ronald Brautigam's recording of Books 1-4 was released in 2012, the reviewer in International Record Review wrote: 'One could scarcely hope for performances more vivid or poetic than these.' This second volume includes the last four published sets of Lieder ohne Worte, as well as a number of other piano miniatures. Brautigam performs them on the same instrument as on the previous disc, a copy by Paul McNulty after a piano from 1830 by Ignaz Pleyel, preserved at Musee de la musique in Paris. 1–6) Sechs Lieder ohne Worte, Op. 62 (1844) 7–12) Sechs Lieder ohne Worte, Op. 67 (1845) 13–18) Sechs Lieder ohne Worte, Op. 85 (1850–51) 19–24) Sechs Lieder ohne Worte, Op. 102 (1867–68) 25–29) Five Individual 'Lieder ohne Worte' 30–35) Sechs Kinderstücke, Op. 72 (1847) 36–37) Zwei Stücke aus dem Notenalbum für Eduard Benecke (1842)