欢迎来到zyrhires.com知音人音乐网,这里有最新的海内外无损、Hi-Res高解析音乐,以及超多正版cd抓轨资源。
您需要 登录 才可以下载或查看,没有账号?立即注册
x
This is the Danish String Quartet’s fourth instalment in the Prism series, the group’s ongoing project that will ultimately hold five volumes of recordings linking Bach fugues with Beethoven quartets and quartets by alternating later composers. While the preceding volumes presented quartets by masters who lived to experience the 20th century – these being, in order of their appearance in the series: Dmitri Shostakovich, Alfred Schnittke and Béla Bartók – Prism IV finds the Danish musicians interpreting Felix Mendelssohn’s (1809-1847) String Quartet No. 2. As Paul Griffiths remarks in the liner notes, the quartet’s interpretation of Mendelssohn is empowered by Beethoven’s model in terms of “vivid gesture, contrapuntal energy, harmonic boldness and formal innovation”. The piece is paired with Beethoven’s String Quartet No. 15 and Bach’s Fugue in G minor, BWV 861 in the arrangement of the Austrian educator and composer Emanuel Aloys Förster.
Praised by The New York Times for “playing of unusual, and unusually effective, liberty” and a tone that “throbs with joy”, The Danish String quartet have built a reputation for their unique interpretations of both traditional and contemporary repertory, often opposing contrasting material and idioms within a programme. The group’s violist Asbjørn Nørgaard has explained that in the past, the quartet members had become “slightly bored with much of the classical music programming. Too much randomness, too little connection.” As they attended a back-to-back performance of Wagner’s Prelude to Lohengrin and Ligeti’s Atmosphères, interpreted by the Berlin Philharmonic under Sir Simon Rattle, they came to a collective realization that ultimately gave birth to the idea for the Prism concept: “connecting masterworks” and “creating a completely new framing but with elegance and respect”, as Nørgaard puts it.
In his liner essay, Paul Griffiths traces different connections between these pieces and their composers – motif-based between Bach and Beethoven, and broader, yet also more immediate ties connecting the latter’s composition to Mendelssohn, who created his Quartet only months after Beethoven’s passing in 1826. “Mendelssohn at this point probably knew all five of Beethoven’s late quartets and certainly was aware of the last, still unpublished when, in July 1827, he began the response that was to occupy his next three months. It was in the finale of Beethoven’s Op. 135 […] that he found his starting point, similarly a question. Keeping the rhythm and contour of Beethoven’s "Muss es sein?", he narrowed its intervals in his own "Ist es wahr?", which he drew from a love song he had jotted down the month before". Elsewhere in his piece, however, Mendelssohn closely follows the model of Beethoven’s Op. 132, down to elegant imitations of its most central themes.
Mendelssohn’s Quartet abounds in references, alluding to, at times even imitating Beethoven’s tonal organization and use of contrast, though each nod to Beethoven also reveals a step towards a different direction, as Mendelssohn’s String Quartet offers alternative answers to old questions. In the same vein, Beethoven’s motif development in the first movement of his String Quartet in A minor proves deeply informed by Bach’s Well-Tempered Clavier, though it is not the head motif of the Fugue in G minor, but that of the C-sharp minor Fugue, to which the American musicologist Lewis Lockwood has drawn parallels.
The Danish String Quartet’s interpretation of the G minor Fugue – one of Bach’s best known fugues and occasionally referred to as the “Little Fugue” – leads gracefully into Beethoven’s String Quartet, confirming the quartet’s claim that “Beethoven is not a disconnected island in music; it is a continuation from Bach and the old masters”. Mendelssohn continues the lineage. © ECM Records
1. Fugue in G Minor, BWV 861 (Arr. Förster for Strings)
2. I. Assai sostenuto - Allegro
3. II. Allegro ma non tanto
4. III. Molto adagio - Andante
5. IV. Alla marcia, assai vivace - Più allegro
6. V. Allegro appassionato - Presto
7. I. Adagio - Allegro vivace
8. II. Adagio non lento
9. III. Intermezzo. Allegretto con moto - Allegro di molto
10. IV. Presto - Adagio non lento
网盘链接:
游客,本付费内容需要支付 10知音币 才能浏览 支付 |
封面: 简介: 艾利和AK RIPPER MKII慢速抓取 此抓轨机出来的FLAC格式码率为1415
封面: 简介: Released by Epic 26 January 2010 Pop/Rock • 21 Tracks • 01h 19
封面: 简介:67曲 [AM]ヴィヴィアン・チョウ[周慧敏] - 起承転結 周慧敏精選集 2024 [
封面: 专辑简介: 已购KK版直接原帖下载即可。 曲目: 01. 在路上.flac 02. 我
封面: 简介: 柏菲唱片 群星 - 胆色 [HQCDII] 限量版 2024 曲目: 01.花妖 02.家梦 03
封面: 简介: 艾利和AK RIPPER MKII慢速抓取 此抓轨机出来的FLAC格式码率为1415 请勿
封面: 简介: 达人艺典 群星 - 刘达甄选 [24K金碟] 限量版 2024 曲目: 01.燕语 02.不
封面: 简介: 达人艺典 群星 - 刘达甄选 [24K金碟] 限量版 2023 曲目: 01.想永远和你
封面: 简介: 曲目: 1 Sonata for Double Bass and Piano: I. Allegro moderato Szy
封面: 简介: 艾利和AK RIPPER MKII慢速抓取 此抓轨机出来的FLAC格式码率为1415 请勿