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古典音乐不但可以开发你的想象力，古典音乐还能提升你的艺术修养，最重要的是在当今浮躁的世界里，
唯有古典音乐能还你一颗平静的心。当你内心真正平静下来了以后，才能从容不迫的面对世间一切纷扰，实现自我突破。
4冷门 -Chandos阿尔比诺尼(1671-1751) 向一个西班牙大公致敬
Albinoni - Homage To A Spanish Grandee: Concertos From Op 10 - Standage, Collegium Musicum 90 (2010)
Composer: Tomaso Albinoni (1671-1751) 阿尔比诺尼
Conductor: Simon Standage
Orchestra/Ensemble: Collegium Musicum 90
Genre: Classical
Label: Chandos
Catalog Number: 769 (https://www.chandos.net?cnumber=chan%200769)
Recorded in: St Jude-on-the-Hill, Hampstead Garden Suburb, London, 11-13 November 2009
CD available From: 01 May 2010
Front cover ‘Charles III (1716–1788) in armour and wearing the Order of the Golden Fleece’
封面：身穿甲胄、佩戴金羊毛骑士勋章的卡洛斯三世。
卡洛斯三世 Carlos III （英语文献中常写作：查理三世 Charles III；1716年1月20日—1788年12月14日）波旁王朝的西班牙国王（1759年—1788年在位），即位前封号为帕尔马公爵（称卡洛斯一世，1731年—1735年）。他也是那不勒斯国王（称卡洛七世，1735年—1759年）和西西里国王（称卡洛四世，1735年—1759年）。
In this latest recording of works by Albinoni, Simon Standage directs Collegium Musicum 90 showcasing the rarely performed and recorded Op. 10 Concertos. As late as 1961, academics were unaware of Albinoni’s last set of concertos. All this changed when two small private collections were found to contain the print. Since then, the existence of Op.10 has been known to scholars, but awareness of it and curiosity about it has not really penetrated. Most of the Op.10 concertos have not been published in a modern edition, and the set has been recorded only twice before.
The dedicatee of Op. 10 was the Marquis of Castelar, Don Luca Fernando Pati?o, who had come to Italy from Spain as a military commander. As a result, the Op.10 concertos are highly individual. If one looks at the melodic lines in isolation, they look full modern for the 1730s, but if one looks at the bass line they go right back to the time of Albinoni’s Op.2 and Op.5. Albinoni alludes to the dedicatee in the music itself: the first movement of Concerto 11 is a vivid evocation of flamenco style, with all its fierce percussiveness. Note writer Michael Talbot describes the concertos as ‘undoubtedly ‘odd’ in the fact that they are wildly different from what one expects from any composer working in the 1730s, but they are also beautiful in a way absolutely peculiar to their composer and in a way a logical conclusion of his art.’
Simon Standage performs regularly with Collegium Musicum 90 and other groups and is a very well respected performer in the early-music field.
Reviews: Tomaso Albinoni, the “Venetian Dilettante” (so-called because he was not a professional musician), was celebrated by his contemporaries for his 50 or so operas and theatrical works, but is best remembered now for five sets of concertos, including the first-ever oboe concertos. The op. 10 concertos, Albinoni’s last, were composed in the mid 1730s but “lost” until the 1960s, and are still relatively unfamiliar. Typically for Albinoni, all are scored for five parts ( a cinque, but without oboes), employ a fast-slow-fast, three-movement pattern, and—unlike the concertos of such popular contemporaries as Vivaldi or Tartini—rarely set a soloist apart from the ensemble. Such unvarying structural guidelines foster the perception of monotony, but Albinoni, like Vivaldi, was inventive enough to avoid that trap. Just one striking example is the 11th concerto, with its representations of the flamenco, an acknowledgment of the set’s Spanish patron, who underwrote its publication. Despite Albinoni’s inherent conservatism, evidence of evolving musical fashions are evident in his op. 10 collection, making it a proper culmination of his particular legacy.
Albinoni’s concertos have persuasive advocates in Simon Standage and Collegium Musicum 90, which he founded in 1990 (with Richard Hickox). Standage has led his ensemble in a number of Albinoni recordings for Chandos, including the complete oboe concertos with Anthony Robson. Their readings of these op. 10 concertos are enthusiastic, stylish, and thoroughly engrossing. If there’s a disappointment with this release, it’s that four of the concertos are absent. But that’s the consequence of the technology, not of the performers. Would that all could have been present and accounted for. Warmly recommended.
Tracks:
Homage to a Spanish Grandee:
Selection from 'Concerti a cinque', Op. 10
Concerto Primo in B flat major - in B-Dur - en si bemol majeur 6:34
1. Allegro 2:18
2. Adagio 2:12
3. Allegro 2:04
Concerto Secondo in G minor - in g-Moll - en sol mineur 10:00
4. Allegro 3:34
5. Andante 2:55
6. Allegro 3:30
Concerto Terzo in C major - in C-Dur - en ut majeur 8:11
7. Allegro 4:06
8. Adagio 2:12
9. Allegro 1:52
Concerto Quinto in A major - in A-Dur - en la majeur 8:15
10. Allegro 3:14
11. Sempre Piano 2:08
12. Allegro 2:53
Concerto Settimo in F major - in F-Dur - en fa majeur 9:03
13. Allegro 3:10
14. Andante 3:05
15. Allegro 2:47
Concerto Ottavo in G minor - in g-Moll - en sol mineur 9:25
16. Allegro 4:01
17. Largo 2:00
18. Allegro 3:23
Concerto Undicesimo in C minor - in c-Moll - en ut mineur 7:17
19. Allegro 4:21
20. Larghetto 1:15
21. Allegro assai 1:42
Concerto Dodicesimo in B flat major - in B-Dur - en si bemol majeur 9:48
22. Allegro 4:03
23. Adagio 1:56
24. Allegro 3:48
TT: 69'15
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