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Warner】(美女)巴尔松(小号) 喜悦
Alison Balsom - Jubilo - Fasch, Corelli, Torelli & Bach (Warner, 24bit 96khz音乐下载 , 2016)
艾丽森·巴尔松(小号) - 喜悦 - 法什, 科莱里, 托雷利, 巴赫作品
Composers: Johann Friederich Fasch (1688-1758) 约翰·弗里德里希·法什, Arcangelo Corelli (1653-1713) 阿尔坎格罗·科莱里,
Giuseppe Torelli (1658-1709) 朱塞佩·托雷利 & J.S.Bach (1688-1758) 约翰·塞巴斯蒂安·巴赫
Artist: Alison Balsom (b.1978), trumpet 艾丽森·巴尔松 (http://www.alisonbalsom.com/)
Orchestra: Academy of Ancient Music 英国古乐学会乐团 (http://www.aam.co.uk/) (1973年由霍格伍德创建)
Conductor: Pavlo Beznosiuk (b.1960) 帕夫洛·班兹诺西乌克 (http://www.aam.co.uk/#/who-we-are/musicians/pavlo-beznosiuk.aspx)
Genre: Classical
Label: Warner Classics (http://www.warnerclassics.com/)
Catalogue No: 9029592465 (http://www.warnerclassics.com/,0190295924652/alison-balsom-jubilo)
Barcode: 0190295924652
Discs: 1
Release date: 4th Nov 2016
专辑收录了巴赫与同时期作曲家法什、科莱里、托雷利为节日喜庆创作的音乐，也是小号家艾丽森·巴尔松再度在录音室回到巴洛克时期的无损音乐专辑曲目。此张专辑是特别为2016年的圣诞节所录制，以巴洛克时华丽的节庆音乐陪伴乐迷欢度佳节！
小号在巴洛克时期达到第一个颠峰。「每当演奏巴洛克音乐的时候，」艾丽森·巴尔松说：「我总觉得自己可以一辈子都很快乐地演奏这些音乐。」她认为十八世纪早期使用的「自然号(natural trumpet)」，声音比起一百年后出现的活塞小号(valved trumpet)更原始而且像是发自肺腑，但是现代的小号又有其优点，因此在专辑里，艾艾丽森·巴尔松同时使用两种乐器：与乐团合作的作品，她使用自然号；与管风琴合作则选择现代小号。专辑以巴洛克时期丰富的无损音乐专辑曲目，演奏出灿烂耀眼的欢腾气息，以及足以抚慰心灵的安祥静谧，就像是小号音色的调色盘，更展现出小号的生命力。
The British trumpet virtuoso talks about her latest album Jubilo, as well as the need to make classical music accessible for adults and children alike.
“The jubilant trumpet rings out in all its festive splendor — by turns with strings, organ or choir for Bach chorales and baroque concertos”
— Alison Balsom
"I didn't record a traditional christmas album," she explains. "I've always been fascinated by Bach's chorales - that's why I absolutely wanted to record them." For these, including the beloved Jesu, Joy of Man's Desiring, the voice of the trumpet is joined in an uplifting chorus by the excellent Choir of King's College, Cambridge, and its director Stephen Cleobury.
"But those chorales alone weren't enough for me," Balsom continues, "So I added baroque music by Fasch, Torelli and Corelli to Bach's work."
— Alison Balsom
Jubilo, a festive programme of music by J.S. Bach and his contemporaries Handel, Corelli, Torelli and Fasch, marks Alison Balsom’s return to the Baroque repertoire she explored in her 2012 album Sound the Trumpet.
“The music is glorious; so is Balsom’s artistry,” was The Times’ view on Sound the Trumpet, while the BBC Music Magazine judged the album to contain “some of the most imaginative and polished trumpet playing you're ever likely to hear.”
The British trumpeter, who recently received an OBE (Order of the British Empire) from the Queen in recognition of her services to music, commands a wide and adventurous repertoire – as she showed in her last Warner Classics release, Légende, an imaginative collection of works for trumpet and piano from the 20th and 21st centuries.
The Baroque era, when the trumpet achieved a new and resplendent sophistication, holds a special place in her heart. “Whenever I am playing Baroque music, I think ‘I could happily do this for the rest of my life’,” she has said. She feels that the natural (valveless) trumpet, as used in the early 18th century, produces “a much more raw and visceral sound” than the valve trumpet, which opened up a host of new possibilities when it arrived on the scene 100 or so years later.
On Jubilo she plays both incarnations of the instrument: where the works are accompanied by an orchestra (the Academy of Ancient Music directed by Pavlo Beznosiuk) she has chosen the natural trumpet, while the modern trumpet is her preferred instrument for the pieces accompanied by the organ. The organist is Stephen Cleobury, Director of Music at King’s College, Cambridge. The college’s famous choir – known around the world for the Festival of Nine Lessons and Carols that is broadcast every Christmas Eve – also features on Jubilo, which was recorded at two historic venues, King’s College itself and the church of St Jude-on-the-Hill in north-west London, designed by the great Edwardian architect Sir Edwin Lutyens.
The involvement of the young King’s College choristers has a special significance: the college is famous as an institution that nurtures the professional singers of the future and Alison Balsom is passionately committed to the cause of music education. She sees each concert as an opportunity to draw people into music: “I hope to achieve two things – that some people will discover that the trumpet is something they like, even if they weren’t sure before … and that people who come to hear one particular piece are also going to end up discovering something new."
The celebratory Jubilo, with its rich programme of Baroque music, ranging from the dazzlingly triumphant to the consolingly serene, is undoubtedly an album with a palette of colour that will prove life-enhancing – in the festive season and far beyond.
With this release Alison records on the natural trumpet for the first time since the hugely successful album Sound the Trumpet. Inspired by seasonal Baroque repertoire, the recording includes concertos by Bach, Corelli, Torelli, and Fasch performed with the Academy of Ancient Music under the direction of violinist Pavlo Besnosiuk. The Schübler Chorales and In dulce jubilo by Bach, performed in arrangements for trumpet and organ played here by Stephen Cleobury, act as a beautiful foil to the full orchestral sound of the concertos. Bach’s Jesu Joy of Man's Desiring featuring Stephen Cleobury and the Choir of King’s College, Cambridge tops off this Christmas cracker of an album. This classy winter-themed album is a perfect core classical seasonal offering.
2013 Gramophone Artist of the Year, three time winner at the Classic BRITs and also three time winner at the Echo Klassik Awards, Alison Balsom OBE has cemented an international reputation as one of classical music’s great ambassadors and is ranked amongst the most distinctive and ground-breaking musicians on the international circuit today. With this release Alison records on the natural trumpet for the first time since the hugely successful album Sound the Trumpet. Inspired by seasonal Baroque repertoire, the recording includes Bach’s concertos by Corelli, Torelli, and Fasch performed with the Academy of Ancient Music under the direction of violinist Pavlo Besnosiuk. The Schübler Chorales and In dulce jubilo by Bach, performed in arrangements for trumpet and organ played here by Stephen Cleobury, act as a beautiful foil to the full orchestral sound of the concertos. Bach’s Jesu Joy of Man's Desiring featuring Stephen Cleobury and the Choir of King’s College, Cambridge tops off this Christmas cracker of an album. This classy winter-themed album is a perfect core classical seasonal offering. The release coincides with a major tour of Germany.
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Pavlo Beznosiuk (b.1960) 帕夫洛·班兹诺西乌克
Born: July 4, 1960 - London, England
The Irish/Ukrainian violinist, Pavlo Roman Beznosiuk, studied with David Takeno at the Guildhall School of Music and Drama in London.
In the mid 1980's Pavlo Beznosiuk was involved in pioneering work in the use of Renaissance violins when he led the Parley of Instruments (1984-1987) and was a founding member of the groundbreaking Medieval ensemble The New London Consort playing Vielles, Rebec and Lira da Braccio. In 1992 he founded the Beethoven String Trio of London with the violist Jeremy Williams and the cellist Richard Tunnicliffe.
Pavlo Beznosiuk is one of the most versatile musicians working on the early music scene today. He has been described as an artist with ‘star quality’ whose ‘playing is full of fantasy’ and ‘whose range of ideas seems every time more amazing’. A rare performer who is equally at home on instruments as diverse as modern, Classical, Baroque and Renaissance violins, viola and Mediaeval fiddles, he has been praised for his versatility and virtuosity. He has secured his reputation as one of Europe's most respected Baroque violinists over the last 25 years with a busy international career as soloist, chamber musician, concertmaster and increasingly as a director.
Pavlo Beznosiuk has led and directed numerous period instrument orchestras including the Academy of Ancient Music (AAM), Amsterdam Baroque Orchestra, Orchestra of the Age of Enlightenment, The Hanover Band, Avison Ensemble, L’Arte dei Suonatori (Poland) and Le Parlement de Musique (France). Recent recital work has included performances of Biber's complete cycle of Rosary sonatas and concerts combining solo violin music of J.S. Bach with that of Luciano Berio and Béla Bartók.
Pavlo Beznosiuk’s extensive list of recordings is a testament to his popularity as one of the field’s outstanding players. They include all of the solos in the six Brandenburg Concertos (BWV 1046-1051) with the New London Consort, Antonio Vivaldi’s Op.6 violin concertos with The Academy of Ancient Music and Christopher Hogwood (Decca), W.A. Mozart’s Sinfonia Concertante and Haffner Serenade with Monica Huggett and Rachel Podger (Virgin/EMI and Erato), and much feted recordings of the Schubert Octet and Cherubini string quartets with the ensemble Hausmusik. His world premiere recording of music by J.J. Walther and J.P. von Westhoff was released in 2000 to great critical acclaim. As musical director of the Avison Ensemble he has completed an exhaustive recorded survey of the music of Charles Avison and in 2010 released a recording of George Frideric Handel's Op. 6 Concerti Grossi (Linn Records) which has been received enthusiastically in the music press. Other recordings include Biber's "Rosary" Sonatas, Antonio Vivaldi's Op.12 Violin Concerti with The Academy of Ancient Music and Christopher Hogwood, and A. Vivaldi's Op. 8 Concerti with the Avison Ensemble (Linn Records). These and his innumerable TV and radio broadcasts for the BBC and other European stations have established his pre-eminence in the field of early music.
Pavlo Beznosiuk teaches at the Guildhall School of Music and Drama and The Royal Academy of Music in London. He also teaches Baroque violin at the Royal Conservatory in the Hague.
由已故英国指挥大师克里斯多夫·霍格伍德于1973年创建的英国古乐学会乐团至今已有近半个世纪的历史，这支以演奏巴洛克时期音乐作品而着称的乐团被誉为“古乐界的天团”。如今观众们所熟知的“本真风格演绎”运动最初便是由英国古乐学会乐团所发起的。
The AAM story
Revolutionary beginnings
Back in 1973, most orchestras played old music in a modern style. Centuries of change had eroded the sound-worlds known to Bach, Handel, Haydn and Mozart: the instruments were different; the pitch was different; the number of players was different; the very essence and spirit of performances was different.
But change was in the air. Wouldn’t it be great, people asked, if we could turn the clock back; if we could find out more about composers’ original intentions and get closer to the style in which music was originally performed?
This was the spirit in which Christopher Hogwood founded the AAM. It was revolutionary. Centuries of convention were cut away as baroque and classical masterworks were heard anew. Music lovers worldwide were electrified. Ancient music got a thrilling new lease of life.
The stringed instruments in Hogwood’s new orchestra had strings made of animal gut, not steel. The trumpets had no valves. The violins and violas didn’t have chin rests, and the cellists gripped their instruments between their legs rather than resting them on the floor.
The whole orchestra worked together to rediscover sounds which hadn’t been heard for hundreds of years — but it wasn’t just the sound of the music which changed; it was how it felt. AAM performances were full of energy and passion and joy.
The original Academy of Ancient Music
Have you ever wondered how the AAM came to have such an unusual name? The answer is that we borrowed it! The original Academy of Ancient Music was founded way back in 1726 for the purpose of rediscovering “ancient music”, which was then defined as being music composed more than twenty years earlier.
1973: The Academy of Ancient Music is founded by Christopher Hogwood.
September: Under Hogwood’s direction the AAM makes its first recording – Arne: Eight Overtures – which is released the following year.
Tracklist:
Johann Friederich Fasch (1688-1758): Trumpet Concerto in D Major, FWV L1 (arr. Tarr)
约翰·弗里德里希·法什: D大调小号协奏曲
01. Trumpet Concerto in D Major, FWV L1: I. Allegro
02. Trumpet Concerto in D Major, FWV L1: II. Largo
03. Trumpet Concerto in D Major, FWV L1: III. Allegro
Johann Sebastian Bach (1685-1750)
04. In dulci jubilo, BWV 729 在甜蜜的喜悦中
05. 6 Schübler Chorales: IV. Meine Seele erhebt den Herren ('My Soul Doth Magnify the Lord'), BWV 648
巴赫 - 6首舒布勒圣咏曲: 4. 我的灵魂都在颂扬上主，转自第10号康塔塔中女中音与男高音二重唱《他不忘慈悲之心，扶起了以色列的仆人》
Giuseppe Torelli (1658-1709): Sonata in D Major, G. 1 (arr. Tarr)
朱塞佩·托雷利: D大调奏鸣曲
06. Sonata in D Major, G. 1: I. Andante
07. Sonata in D Major, G. 1: II. Allegro
08. Sonata in D Major, G. 1: III. Grave
09. Sonata in D Major, G. 1: IV. Allegro
Johann Sebastian Bach
10. 6 Schübler Chorales: III. Wer nur den lieben Gott l?sst walten ('Who Allows God Alone to Rule Him'), BWV 647
巴赫 - 6首舒布勒圣咏曲: 3. 只服从神的人，转自第93号康塔塔，女高音与女中音的二重唱《当他知道真正的喜悦时》
11. Cantata No. 147, 'Herz und Mund und Tat und Leben', BWV147: Jesu, Joy of Man's Desiring
巴赫 - 第147号康塔塔《耶稣，人类渴望的喜悦》 (或译: 耶稣，是人类喜悦的盼望 / 耶稣，是我们仰望的喜悦)
12. 6 Schübler Chorales: II. Wo soll ich fliehen hin('Whither Shall I Flee?'), BWV 646
巴赫 - 6首舒布勒圣咏曲: 2. 我们逃亡何处?
Arcangelo Corelli (1653-1713): Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto' (arr. Wright)
阿尔坎格罗·科莱里: G小调大协奏曲，作品第六号第八首"圣诞协奏曲"
13. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': I. Vivace - Grave
14. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': II. Allegro
15. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': III. Adagio - Allegro
16. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': IV. Vivace
17. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': V. Allegro
18. Concerto Grosso in G Minor, Op. 6 No. 8 'Christmas Concerto': VI. Largo. Pastorale ad libitum
Johann Sebastian Bach: 6 Schübler Chorales
19. 6 Schübler Chorales: V. Ach bleib bei uns, Herr Jesu Christ ('Lord Jesus Christ, with Us Abide'), BWV 649
巴赫 - 6首舒布勒圣咏曲: 5. 啊，主耶稣基督，请和我们在一起，转自第6号康塔塔《黄昏时候请和我们在一起》
20. 6 Schübler Chorales: I. Wachet auf, ruft uns die Stimme '(Wake, Awake for Night is Passing'), BWV 645
巴赫 - 6首舒布勒圣咏曲: 1. 醒来吧，守望之神呼唤我们，此曲转用于第140号康塔塔中男高音合唱《听，锡安的守望者之歌》
21. 6 Schübler Chorales: VI. Kommst du nun, Jesu, vom Himmel herunter auf Erden ('Come Thou, Jesu, from Heaven to Earth'), BWV 650
巴赫 - 6首舒布勒圣咏曲: 6. 耶稣，你今天降临在地上，转自第 137号康塔塔《崇拜主》中女中音咏叹调
TT: 54:15
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