Prestomusic 鲁杰罗·里奇（Ruggiero Ricci） - 20CD 2021 官方数字版 [FLAC/16/44]

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     这是迄今为止对真正的演奏家鲁杰罗·里奇（Ruggiero Ricci）恶魔般的手指和崇高艺术的最完整的赞颂——这是一场由里奇录制的协奏曲、独奏曲和独奏曲目的盛宴，首次汇集在一起，包括一套以前未出版的勃拉姆斯小提琴奏鸣曲。这款20CD限量版箱包套装配有原装夹克，分为三个部分：小提琴和管弦乐队；小提琴独奏；小提琴和钢琴。

罗杰·里奇1918年出生于加利福尼亚州一个军事基地，父亲是意大利移民。当他作为一名神童小提琴手被介绍给纽约音乐界时，他成为了鲁杰罗·里奇。1950年萨金特在德卡首演柴可夫斯基协奏曲时，他是一位经验丰富的表演者和录音艺术家，他自己制作的小提琴独奏曲目不仅让大西洋两岸的观众目瞪口呆：不仅是巴赫，还有伊萨耶、维尼亚夫斯基和大部分帕格尼尼，他的随想曲是第一个在1950年后期完成的。在柴可夫斯基会议结束时，新交响乐团的音乐家们爆发出自发的掌声。

塔利·波特（Tully Potter）关于里奇斯生活和记录遗产的一篇具有典型启发性的新文章借鉴了之前未发表的信件，并为许多记录的背景提供了线索。

在协奏曲曲目中Riccis著名的可唱歌曲的著名记录包括安东尼·柯林斯（Anthony Collins）的一张极具影响力的帕格尼尼（Paganini）专辑和奥文·弗耶尔斯塔德（Oivin Fjeldstad）的一段关于西贝柳斯（Sibelius）的扣人心弦的叙述。门德尔松（1957年和1974年）有两次录音，第一次是与另一位天才指挥家皮耶罗·甘巴（Piero Gamba）录制的，第二次是与让·福内特（Jean Fournet）在德卡斯第四阶段立体声中录制的。他与欧内斯特·安瑟梅特合作，在柴可夫斯基的管弦组曲中为拉威尔·齐甘尼和独奏表演，点燃了火花。这些（组曲3和组曲4）以及来自《天鹅湖》费斯托拉里第四阶段录音的小提琴独奏部分都包含在本系列中。

德卡与利玛窦合作，与几位著名钢琴家合作演奏曲目，首先是他的前老师路易斯·佩辛格，包括弗里德里希·古尔达。许多室内录音（萨拉萨特专辑、韦伯、理查德·施特劳斯和普罗科菲耶夫的奏鸣曲）不是在德卡工作室制作的，而是在新泽西州的里奇斯家制作的。1957年，他与朱利叶斯·卡钦在伦敦录制了第二和第三首勃拉姆斯奏鸣曲，三年前，他还与卡钦在家录制了三首奏鸣曲。这些1954年的演出首次在这里发布：为所有伟大小提琴演奏爱好者提供必要的聆听。

这位美国年轻人演奏最难的乐段时确实非常准确，这肯定会让许多训练有素的小提琴手惊讶地擦着额头。《美国唱片指南》，1951年7月（帕格尼尼随想曲）

       The most complete tribute ever issued to the fiendish fingers and sublime artistry of a true virtuoso, Ruggiero Ricci - a feast of concerto, solo and recital repertoire recorded by Ricci, collected together for the first time, and including a previously unpublished set of the Brahms Violin Sonatas. This 20CD Limited Edition boxset complete with original jackets is divided into three sections: Violin and Orchestra; Solo Violin; Violin and Piano.

Born Roger Rich to an Italian immigrant father on a Californian army base in 1918, he became Ruggiero Ricci when he was introduced to the New York musical public as a child prodigy violinist. By the time of his debut on Decca the Tchaikovsky Concerto conducted by Sargent in 1950 he was an experienced performer and recording artist who had already stunned audiences on both sides of the Atlantic with the solo-violin repertoire he would make his own: not only Bach but also Ysaye, Wieniawski and most of all Paganini, whose Caprices he was the first to record complete later in 1950. At the close of the Tchaikovsky sessions, the musicians of the New Symphony Orchestra burst into spontaneous applause.

A new and typically illuminating essay by Tully Potter on Riccis life and recorded legacy draws on previously unpublished correspondence and sheds light on the background to many of these recordings.

Notable records of Riccis famous cantabile in concerto repertoire include a hugely influential Paganini album with Anthony Collins and a gripping account of the Sibelius with Oivin Fjeldstad. There are two recordings of the Mendelssohn (1957 and 1974), the first with another prodigy, the conductor Piero Gamba, and the second recorded in Deccas Phase 4 stereo with Jean Fournet. He strikes sparks in partnership with Ernest Ansermet for Ravels Tzigane and the solos in Tchaikovskys Orchestral Suites. These (Suites Nos. 3 and 4) as well as sections featuring the solo violin, from the Fistoulari Phase 4 recording of Swan Lake, are included in this collection.

Decca partnered Ricci with several notable pianists for recital repertoire, starting with his former teacher Louis Persinger and including Friedrich Gulda. Many of these chamber recordings (a Sarasate album, sonatas by Weber, Richard Strauss and Prokofiev) were made not in the Decca studios but in Riccis home in New Jersey. While he recorded the Second and Third Brahms Sonatas with Julius Katchen in London in 1957, he also taped the cycle of three sonatas at home with Katchen three years earlier. These 1954 performances are issued here for the first time: essential listening for all fans of great violin playing.

This young Americans really remarkable accuracy in playing the most difficult passages is certain to cause many a trained fiddler to mop his forehead in amazement. American Record Guide, July 1951 (Paganini Caprices)

I look forward to more discs by this first-rate duo His natural elegance stands him in good stead in the Prokofiev, where his partner at the piano also distinguishes himself by some most artistic leggiero playing. Gramophone, October 1953 (Prokofiev & Strauss Sonatas)

There is some truly amazing fiddling here ... combining faultlessly brilliant technique with unusually warm tone A must for all violinists. High Fidelity, October 1954 (Paganini Concertos)

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