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ECM 柴可夫斯基(1840-1893),克辛尼(b.1953) 钢琴三重奏
Tchaikovsky & Kissine - Piano Trios (ECM, 2011)
Composers: Peter Ilyich Tchaikovsky (1840-1893) 彼得·伊里奇·柴可夫斯基,
Victor Kissine (b.1953) 维克多·克辛尼
Artists: Gidon Kremer (b.1947), violin (http://www.gidonkremer.net/) 吉顿·克莱默 / 基顿·克莱默, 小提琴
Giedr? Dirvanauskait?, violoncello 吉德·德瓦瑙斯凯, 大提琴 (克莱默的年轻妻子)
Khatia Buniatishvili (b.1987), piano (http://www.khatiabuniatishvili.com/) 卡蒂雅·布尼亚季什维莉, 钢琴
Genre: Classical, Contemporary, Romantic, Chamber Music
date: 15.04.2011
两首作品概括了俄罗斯室内乐的历史。一是具有启示性的柴可夫斯基的钢琴三重奏 op.50，二是俄罗斯作曲家维克多·克辛尼作于2009年的“镜子”，克辛尼从俄罗斯诗人安娜·阿赫玛托娃的两行诗作“镜子只能梦见镜子/沉默只能守望沉默”中获得作品灵感，并题献给演奏家克莱默、德瓦瑙斯凯、布尼亚季什维莉。三位身怀旷世才华的音乐家，为乐迷献上一套三重奏的上乘佳作！此专辑中的柴可夫斯基钢琴三重奏，被认为是“迄今以来最伟大的柴可夫斯基钢琴三重奏录音”。
生于1953年，俄国现代作曲家维克多·克辛尼(Victor Kissine)的作曲活动体裁涵盖面广泛，包括交响乐管弦乐、协奏曲、室内乐独奏和合奏、声乐和合唱作品、两部歌剧和芭蕾舞剧，以及众多电影配乐的作品。
Two compositions bracketing the history of Russian chamber music. A revelatory account of Tchaikovsky’s piano trio op.50, juxtaposed with Victor Kissine’s “Zerkalo” of 2009, a work dedicated to performers Kremer, Dirvanauskait? and Buniatishvili, and inspired by two lines from Anna Akhmatova: “The mirror dreams only of the mirror / Silence watches over silence.” Issued on the eve of a major tour with dates in both Europe and Japan, and with Georgian pianist Khatia Buniatishvili and Lithuanian cellist Giedr? Dirvanauskait? hailed as two of the most gifted players of their generation, this newest project from Gidon Kremer is certain to be one of the events of the season.
Background
Three-way conversations
Piano trios by Victor Kissine and Peter Tchaikovsky
It's a paradoxical situation: Mozart and Beethoven, Schubert and Mendelssohn, Schumann and Brahms all honoured the genre of the piano trio by writing works which should not rightly be called "piano trios". Rather than accepting the supremacy of the keyboard over the string instruments explicit in the very term 'piano trio', the composers instead wanted a three-way conversation among equals in which the highly contrasting instrumental timbres coalesced at a higher level. And they achieved that by liberating the cello from its ancient function as a continuo instrument and giving the violin the brilliance that had earned it pride of place among solo instruments ever since the 18th century, even in the concerto.
Another member of this company of great composers who granted instrumental parity to the trio with piano, violin and cello was Peter Ilyich Tchaikovsky in his only piece of chamber music for this combination of instruments: the Trio in A minor, op. 50. This scrupulous composer, who was never convinced of his compositional prowess despite having already achieved huge acclaim with quite different musical difficulties (symphonies, piano concertos, operas and ballets), hesitated for a long time before venturing onto this terrain. To the hyper-sensitive Tchaikovsky, the combination of piano and string instruments was, as he once put it in a letter to his lifelong benefactress Nadezhda von Meck, something unnatural, for each instrument had to sacrifice its distinctive charm.
Nevertheless, Tchaikovsky convincingly surmounted this compositional problem. More than that, in his op. 50 he found a different way to resolve the paradox that composers from Mozart to Brahms had ferreted out and overcome – namely, he gave his work an almost orchestral garb. The mastery he had gained in the symphony served him in good stead in his chamber music, where the orchestral richness of the piano is offset by the wealth of colours and dynamic extremes of the string instruments. To be sure, this sort of timbral emancipation comes off especially well when played by musicians of the stature of Gidon Kremer (violin), Giedr? Dirvanauskait? (cello) and Khatia Buniatishvili (piano), who impressively employ all the exuberance and verve of their respective instruments while staying finely attuned to their fellow performers. Here they do this in a work that bursts the boundaries of its form, with the wistful first movement augmented by a huge set of variations split into two large sections.
Such liberating and yet poised ensemble playing also redounds to the benefit of Zerkalo ('Mirror'), a trio composed by Victor Kissine in 2009 for the same combination of instruments. Kissine hails from St Petersburg and first came to notice with a scandalous operatic setting of Peter Weiss's play Marat-Sade before acquiring a reputation for chamber music. His trio, interpreted with consummate mastery by Kremer and his colleagues Dirvanauskait? and Buniatishvili, is a sensitively balanced, almost intimate, yet technically demanding amalgam of the instruments' iridescent timbres – an amalgam which, however, can soar to dynamic escalations on a gigantic scale and is very close to the emotional universe of that Russian man of sorrows, Tchaikovsky. Kissine, a longstanding friend of Gidon Kremer, was inspired by two lines from Anna Akhmatova's Poem without a Hero, though the resultant piece of music does not depend on external programmes. It turned into one of his most tight-knit and timbrally resplendent creations, pressing forward into barely perceptible acoustical realms that demand precisely the quality these three musicians have in common: telepathic empathy.
Review:
Spanning some one and a quarter centuries, the A minor Piano Trio of Tchaikovsky and Victor Kissine's Zerkalo (Mirror) for piano trio encompass the breadth and impressive development that has occurred in Russian chamber music during that time. Tchaikovsky, who once vehemently opposed writing for piano trio on the grounds that the combined sounds were intensely displeasing to him, ended up writing one of the most dramatic, sweeping examples in the literature. It is by no means conventional in its own right; Tchaikovsky abandoned the traditional movement structure and instead wrote a massive two-movement work. Kissine's Zerkalo was inspired by a line of prose, but also incorporates sophisticated and subtle mirrored sections throughout its complex score. Though the two trios could not be more different, they work well together on this disc, particularly in the capable hands of Gidon Kremer, Giedré Dirvanauskaite, and Khatia Buniatishvili. Kremer has long been a champion of modern works, and does great justice to Kissine's score. The level of detail and subtle aspects of dynamics, intonations, phrasing, and articulation that his ensemble incorporates makes for a gripping and at times chilling performance of this worthwhile composition. The Tchaikovsky completely changes gears in the most memorable ways; the tone changes from glasslike to a robust, meaty "Russian" sound that surrounds listeners with the memorable melodies and rich harmonies. ECM's recorded sound quality is full and resonant while maintaining an appropriate amount of clarity.
------ by Mike D. Brownell [-]
Giedre Dirvanauskaite 吉德·德瓦瑙斯凯
波罗的海克莱默室内乐团创始人；获奖无数、与吉东·克莱默合作无间的杰出大提琴演奏家；
与吉东·克莱默和卡提娜·布尼亚提斯维利合作录制的柴可夫斯基钢琴三重奏，被认为是“迄今以来最伟大的柴可夫斯基钢琴三重奏录音”。
吉德·德瓦瑙斯凯特生于立陶宛一个音乐之家，多次在全国比赛中获得冠军。作为独奏家，她和立陶宛国家交响乐团、立陶宛室内乐团、亚美尼亚爱乐乐团、基辅室内乐团合作，还经常参加日本金泽室内乐团的巡演。 她在1997年创立了波罗的海克莱默室内乐团，经常在世界各地巡演。吉德也以多种形式，与钢琴家兹拉贝斯、陈萨、布尼亚提什维利等一起演出。她还与波罗的海克莱默室内乐团的成员组成克莱默弦乐四重奏演出。
Giedre Dirvanauskaite was born in Kaunas, in a family of musicians. In 1995, she graduated from the M.K.Ciurlionis Art Gymnasium where she studied cello with Romanas Armonas and entered the Lithuanian Academy of Music and Theatre to study with Prof. S. Sondeckiene. She is the laureate of several competitions; she has attended master classes held by M. Rostropovich, D. Geringas, G. Kremer, V. Hagen, H. Bayerle, T. Grindenko, B. Garlicki and others.
She has participated in music festivals in Lithuania and abroad: the cycle Vilnius Quartet and Young Talents organized by Vilnius Quartet, youth festival Atzalynas, the international music festival Sugrizimai and chamber music festival in Gstadt (Switzerland); every year she participates in Lockenhaus Chamber Music Festival (Austria) organized by Gidon Kremer.
As a soloist she has performed with the Lithuanian National Symphony Orchestra, Lithuanian Chamber Orchestra, Kremerata Baltica orchestra, with the conductors Esa-Pekka Salonen, Juozas Domarkas, Saulius Sondeckis and Robertas Servenikas.
In January 2005, Giedre Dirvanauskaite played solo with the Kremerata Baltica orchestra at the international music fair MIDEM in Cannes (France). She has been willingly participating in various chamber music projects, giving concerts in Lithuania and abroad.
Since 1997, she is a member of the chamber orchestra Kremerata Baltica. In 2004, on the advice of the leader of this orchestra, Gidon Kremer, she founded the string quartet Kremeratini with her colleagues Dzeraldas Bidva, Marija Nemanyte and Ula Zebriunaite, which has already given concerts in USA, Latvia and Austria.
In 2005, she was awarded by the Mayor of Vilnius, Arturas Zuokas, for the glorification of Vilnius and Lithuania in the world.
Khatia Buniatishvili (http://www.khatiabuniatishvili.com/) 卡蒂雅·布尼亚季什维莉
卡蒂雅·布尼亚季什维莉（Khatia Buniatishvili）于1987年出生于格鲁吉亚首都第比利斯，是当今世界上最受好评的青年钢琴家之一，也被视为明日的钢琴之星。卡蒂雅自幼接受母亲的教育，六岁时与乐团合作协奏曲，巡演于欧洲各地。她在第比利斯的国立音乐院求学期间就获得了多项比赛肯定，然后转往维也纳深造，2008年首度登上卡内基音乐厅的舞台。她曾被BBC广播电台选为2009-2011年度新生代艺术家，同时也是维也纳爱乐协会2011/2012乐季的闪耀之星。钢琴女王阿格里奇赞许道：“卡蒂雅是一个十分杰出的青年钢琴家，我对她不凡的钢琴天分、自然流露的音乐性、想象力，以及光辉灿烂的技巧印象深刻。
Tracks:
01. Victor Kissine (b.1953) - Zerkalo (The Mirror) for violin, violoncello and piano (2009) 20:46
Peter Ilyich Tchaikovsky (1840-1893)
Trio in A Minor for piano, violin and violoncello, Op. 50 (1882)
02. I. Pezzo Elegiaco: Moderato assai – Allegro giusto – In tempo molto sostenuto – Adagio con duolo e ben sostenuto – Moderato assai – Allegro giusto – In tempo molto sostenuto – Animato 19:54
II. A. Tema Con Variazioni
03. Tema: Andante Con Moto 0:58
04. Variazione I 0:50
05. Variazione Il: Più Mosso 0:32
06. Variazione Ill: Allegro Moderato 0:47
07. Variazione IV: L'Istesso Tempo 1:12
08. Variazione V: L'Istesso Tempo 0:24
09. Variazione Vl: Tempo Di Valse 2:28
10. Variazione Vll: Allegro Moderato 1:18
11. Variazione Vlll: Fuga. Allegro Moderato 2:36
12. Variazione IX: Andante Flebile Ma Non Tanto 3:17
13. Variazione X: Tempo Di Mazurka 1:43
14. Variazione Il: Moderato 2:04
15. II. B. Variazione Finale e Coda: Allegro risoluto e con fuoco - Andante con moto - Lugubre. L'istesso tempo 12:12
TT: 71'10
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