Gaede Trio -《巴哈：郭德堡变奏曲》(J.S Bach - Goldberg variationen)[SACD-R]/CT

专辑英文名: J.S Bach - Goldberg variationen

专辑中文名: 巴哈：郭德堡变奏曲

艺术家: Gaede Trio.

古典类型: 全集作品

版本: [sacd-R]

发行时间: 2010年10月12日

地区: 德国

语言: 英语

简介:



专辑介绍:

重现历久不衰的传奇经典
真空管录音史上的稀世珍品
凌驾发烧乐界的超级天碟

　　巴哈的「郭德堡变奏曲」原本是首催眠曲，但是它优雅的歌调与变奏，时值今日却成了充满哲理的钢琴独奏作品，甚受演奏者与乐迷的欢迎。本片演奏的「郭德堡变奏曲」又更具特色，将原本的钢琴独奏极具创意地改编为弦乐三重奏的组合，由小提琴、中提琴、大提琴来詮释巴哈丰富的对位技法。盖德三重奏成立於1991年，三位成员可以说都身怀绝技，其中『丹尼尔．盖德』曾经是「维也纳爱乐」的首席小提手，并赢得「卡尔费雪」、「姚阿幸」等大奖。而中提琴家『汤玛斯．赛迪兹』更曾经在巴伦波因的指挥下，担任「德勒斯登国立管絃乐团」的首席独奏家，获得大奖与灌录唱片眾多。至於大提琴家『安德拉斯葛瑞格』，他与『汤玛斯．赛迪兹』同样出身「德勒斯登国立管絃乐团」，是『柴可夫斯基』大赛的赢家。

　　他们经常在德国、欧洲、美国等地进行巡迴，在室内乐演奏上享有极高地位。本片Tacet透过了一对Neumann M49、以及一对Neumann U47，捕捉盖德三重奏詮释巴哈的神韵，价值连城的收音器材，加上完美无瑕的动人演出，精彩地将巴哈音乐的神韵、内涵加以完美捕捉。并同时採用DSD MIXING混音技术处理压制成双层 SACD，让乐器表现和乐曲演绎上更胜普通CD效果，呈现出前所未有的流畅细致。高水準的录音与制作除了早已让[CD层]音效直达示范级天碟之外，[SACD层]音色更是超乎所有行家想像。无论是「定位感」、「空间感」、「层次感」以及「透明度」都让人宛如置身现场一般! 全碟音效从头至尾靚绝通透、立体饱满，『正』到令人发晕，诱人出眾的美妙音色，能不陶醉者几稀，不愧是当今市面上眾多 SACD 中真正的「超级CD」(Super Audio CD)! 身为发烧友的您，岂能错过？


J.S. Bach: Goldberg Variationen - Gaede Trio. 2005 TACET-SACD (Sony PS3 Rip)
Sony PS3 SACD to *ISO | DST 1bit-2822,4kHz 2.0, 5.1
Classical | Label: TACET | Catalog Number: S70

Published on June 4, 2005
BACH: The Goldberg Variations BWV 988, string trio version – The Gaede Trio – (Tacet 4.0 SACD)
BACH: The Goldberg Variations BWV 988, string trio version
- The Gaede Trio – Tacet multichannel (4.0) SACD S 70, 90:04 (CD layer: 68:40) ***1/2:

The very flexible Goldberg Variations may be and has been performed by many different instruments as well as by solo keyboards. The Gaede Trio
plays a string trio version by Sitkovetsky for violin, viola and cello. First, to the timing listed above: I didn’t know it was possible to get more time on a SACD than on a standard CD but if the above figure is correct, Tacet seems to have expanded the limit by ten minutes. Yet the jewelbox also lists: “CD Version: 68:14.” That is a version of the variations in which all the repeats have been edited out in order to reduce the total time to fit the limitations of the hybrid SACD format, which would not allow three 90 minute programs on the single disc.

With a trio it would seem the ideal multichannel recording setup would be three front channels – in other words using the center channel, but this SACD is only four channel. However, Tacet is known for an experimental attitude to working with the spatial possibilities of multichannel. So Producer/Engineer Andreas Spreer asked the musicians to vary their sitting positions relative to the two front microphones, depending on the musical requirements of each separate variation in the set of 30. This they did, so if the three instruments seem to be moving around a bit from one track to another, it’s not your imagination. (For more active spatial movement see the review of the Tacet Peter and the Wolf!) Being an occasional harpsichordist myself I find the trio approach less interesting than some of the Goldberg alternatives, but anyone deeply into string quartet literature would probably appreciate this interpretation more.

– John Sunier



引用

「Johann Sebastian Bach: Goldberg-Variationen BWV 988」
演奏者：Gaede Trio
唱片编号：TACET S70

「郭德堡变奏曲」的知名度，在古典音乐上面肯定可以排在前几名，不过大家习惯的应该是钢琴演奏版本，其中尤其以顾尔德的两次录音最为有名，同时我也推荐巴伦波因的演奏，这张由Gaede Trio担纲演出的专辑则是弦乐三重奏的改编版本，与键盘乐器演奏有不一样的味道。由小提琴、中提琴与大提琴组成的弦乐三重奏，在Tacet的处理下，三种乐器的质感各有特色，又能水乳交融，我想三把提琴的音质与音色应该归功於录音技术，而水乳交融的和鸣，则是三位默契十足的演奏者共同营造的气氛。或许因为Tacet强调减少后制修补，乐曲进行中出现过一两处演奏瑕疵，但是在录音当中也予以保留，听起来像是一气呵成的录音。


巴哈创作此曲时，相传是写给凯瑟林伯爵（Carl von Keyserlingk），让他的大键琴师郭德宝（Johann Gottlieb Goldberg）演奏，治疗伯爵长期失眠之苦。Gaede Trio的演奏从键盘换成弦乐，和声与音乐织体显得更为绵密而丰富，加上小提琴、中提琴、大提琴分别担任主奏，相互应答，让乐曲听来兴味盎然。两声道的表现就已经够迷人了，大提琴鬆软绵长，小提琴则清丽昂扬，让中提琴的音色很容易分辨出来。换上多声道演出时，声音的定位感一开始不太习惯，但是此起彼落的交互应和，交织出愉悦的音乐景象。

...Dmitry Sitkovesky has arranged it for string trio (violin, viola and cello) and it works surprisingly well. Sometimes having three different instruments allows one to follow the contrapuntal intricacies of Bach with great precision. But more than that I love the sound of string instruments as well, especially the cello...

...Andreas Speer (the boss of Tacet) takes great care with his productions. "Small" house bosses like Speer, Robert Bahr(BIS), Simon Perry(Hyperion) and Jared Sacks(Channel Classics) (Klaus Heymann at Naxos is just as important but on a larger scale)will be the saviours of classical music as companies like Sony and Universal release less going into the future. If you really want to cry think that EMI gave $100 million US to that musical equivalent of sugar floss Mariah Carey to pay out her contract - imagine what Jared Sacks could do with $100 million! (I did Macroeconomics at University and I understand the financial reasons - it still makes me want to throw up though).
This is a 4.0 not 5.0 recording. Though the most important thing is that we have 2 rear channels I still would prefer 3 across the front. How much better would it be put the violin front left, viola centre and cello front right instead of mixing the viola half in the right and left channels and trying to make it sound like its coming out of the middle. If you have a middle speaker use it! Reproduction of the instruments (especially the cello) is first rate. Annoyingly one of the trio sniffles constantly throughout the performance, and while it is not as bad as Gould's vocalise it is a bit distracting at points.
I would have also preferred a bit more fire in the faster variations; sometimes we just seem to be cruising along. It is not Bartok but I think people would know from my reviews I prefer my performances to be fiery. Conversley the great Black Pearl variation could have been a tad slower, though these are really nitpickety points (minus half a point on sound and performance).
My advice is "Buy it!". It really gives a fascinting new slant on an old masterpiece.


Review by nickc February 15, 2005 (4 of 4 found this review helpful)
Performance: Sonics:
The Goldberg variations are one of Bach's towering masterpieces and must be in any self-respecting classical collection, but of course they were not written for strings but with harpsichord in mind. I could state the age-old chestnut: if Bach had wanted strings to play it he would have written it for them! I think you should have a keyboard version in your collection (I have Schiff's new ECM recording but Perahia has released an acclaimed SACD version on Sony). I must admit being a pianist who plays the Goldbergs himself (badly, and with the faster variations at about half speed!)I am a bit biased.
Having said that this recording is fascinating and highly entertaining. Dmitry Sitkovesky has arranged it for string trio (violin, viola and cello) and it works surprisingly well. Sometimes having three different instruments allows one to follow the contrapuntal intricacies of Bach with great precision. But more than that I love the sound of string instruments as well, especially the cello.
Andreas Speer (the boss of Tacet) takes great care with his productions. "Small" house bosses like Speer, Robert Bahr(BIS), Simon Perry(Hyperion) and Jared Sacks(Channel Classics) (Klaus Heymann at Naxos is just as important but on a larger scale)will be the saviours of classical music as companies like Sony and Universal release less going into the future. If you really want to cry think that EMI gave $100 million US to that musical equivalent of sugar floss Mariah Carey to pay out her contract - imagine what Jared Sacks could do with $100 million! (I did Macroeconomics at University and I understand the financial reasons - it still makes me want to throw up though).
This is a 4.0 not 5.0 recording. Though the most important thing is that we have 2 rear channels I still would prefer 3 across the front. How much better would it be put the violin front left, viola centre and cello front right instead of mixing the viola half in the right and left channels and trying to make it sound like its coming out of the middle. If you have a middle speaker use it! Reproduction of the instruments (especially the cello) is first rate. Annoyingly one of the trio sniffles constantly throughout the performance, and while it is not as bad as Gould's vocalise it is a bit distracting at points.
I would have also preferred a bit more fire in the faster variations; sometimes we just seem to be cruising along. It is not Bartok but I think people would know from my reviews I prefer my performances to be fiery. Conversley the great Black Pearl variation could have been a tad slower, though these are really nitpickety points (minus half a point on sound and performance).
My advice is "Buy it!". It really gives a fascinting new slant on an old masterpiece.






专辑曲目:


01. Aria 4:29
02. Variatio 1 a 1 Clav. 2:06
03. Variatio 2 a 1 Clav. 1:56
04. Variatio 3 a 1 Clav. 2:28
05. Variatio 4 a 1 Clav. 1:16
06. Variatio 5 a 1 ovvero 2 Clav. 1:38
07. Variatio 6 a 1 Clav. 1:21
08. Variatio 7 a 1 ovvero 2 Clav.. 2:27
09. Variatio 8 a 2 Clav. 2:00
10. Variatio 9 a 1 Clav. 3:04
11. Variatio 10 a 1 Clav. Fughetta 1:37
12. Variatio 11 a 2 Clav. 2:15
13. Variatio 12 2:19
14. Variatio 13 a 2 Clav. 7:10
15. Variatio 14 a 2 Clav. 2:05
16. Variatio 15 a 1 Clav. 5:40
17. Variatio 16 a 1 Clav. 3:05
18. Variatio 17 a 2 Clav. 1:41
19. Variatio 18 a 1 Clav. 1:33
20. Variatio 19 a 1 Clav. 1:28
21. Variatio 20 a 2 Clav. 2:09
22. Variatio 21 a 1 Clav. 3:23
23. Variatio 22 a 1 Clav. 2:14
24. Variatio 23 a 2 Clav. 2:16
25. Variatio 24 a 1 Clav. 3:30
26. Variatio 25 a 2 Clav. 8:33
27. Variatio 26 a 2 Clav. 1:52
28. Variatio 27 a 2 Clav. 2:26
29. Variatio 28 a 2 Clav. 2:37
30. Variatio 29 a 1 ovvero 2 Clav. 2:14
31. Variatio 30 a 1 Clav. 2:20
32. Aria da capo al fine 4:39

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