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【西班牙吉他】NAROCISO YEPES经典传世专辑Concierto de Aranjuez
CD的演奏者是那西索·叶佩斯 （Narciso Yepes，1927- 1997），西班牙吉它演奏家。
四岁学吉它。十二岁入巴伦西亚市音乐学院，二十岁赴马德里，在西班牙国立管弦乐团协奏下演奏罗德里戈《阿兰胡埃斯协奏曲》，引起很大反响。后以独奏家身份从事演出活动，并在巴黎求教于作曲家、小提琴家艾奈斯库和钢琴家基赛金，1952年为法国影片《被禁止的游戏》配乐，其中《爱的罗曼斯》流传很广。
擅长演奏西班牙近现代作品。其演奏技巧高超而熟练，乐曲处理富有层次。《爱的罗曼斯》乐曲优美动听，淳朴的旋律与清澈的分解和旋完全融为一体，似叮咚作响的清泉，给人以链接：https://pan.baidu.com/s/1of6UzZ4jT_6MaLTuGX86Vw
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这张CD就是那西索·叶佩斯的经典成名传世之作《阿兰胡埃斯协奏曲》，也是各国吉他高手争相模仿和学习的典范，下载这些曲目同时也有助于吉他爱好者提高演奏水平。
NARCISO YEPES RODRIGO | Concierto de Aranjuez
那西索·叶佩斯 罗德里戈：阿兰胡埃斯协奏曲
When Narciso Yepes signed an exclusive contract with Deutsche Grammophon in 1967,the company was taking the risk of championing an instrument and a repertory that were both "outsiders" at conventional concert halls.Guitars only exceptionally appeared inside them, even if Segovia had played in the grandest of them before the 20th century reached its midpoint. But now things were changing and recordings played an important part in the process. Deusche Grammophon recognized that records offered the opportunity to uncover hall and to present it to a large public.
当纳西索耶佩斯与德意志留声机唱片公司于1967年签署了独家合同时,公司正在推行被称为传统音乐厅“外人”的乐器与曲目。即使塞戈维亚的吉他演奏在20世纪前就达到了如日中天的水平，但当时吉他还是很少出现在正式的音乐中。因为录音唱片的重要作用，现在一切都改变了。德意志留声机唱片公司认识到唱片可以满足音乐厅以外更为广泛的公众市场需求。
Having released a collection of "Spanish Guitar Music from 5 Centuries", Deutsche Grammophon boldly drew attention to Fernando Sor's almost unknown Etudes and to Spanish music of the 20th century by Manuel de Falla and Joaquin Rodrigo. These recordings decisively corrected the common view of Spanish music, showing that there was much more to it than folkloric exoticism. Its gravity, severity, inner fire, boldness of form and expression combined with rhythmic discipline are qualities within European music.
在发布了“5世纪后西班牙吉他音乐”系列专辑之后，德意志留声机唱片公司大胆地关注费尔南多琼那些鲜为人知的练习曲和以马努埃尔·德·法雅和华金·罗德里戈为代表的20世纪西班牙音乐。这些唱片彻底改变了以往对西班牙音乐的普遍看法，更多地展现异域民俗情调。将吉他的庄重、奔放和内在激情等元素结合在欧洲音乐中。
If Andres Segovia, born in 1893, was the first interpreter of genius to make the guitar acceptable in polite concert-going society - as Pablo Casals did for the cello – Narciso Yepes, born 34 years later, developed the instrument and its playing technique still further along lines to suit modern concert halls. Precociously gifted, admitted to the Valencia Conservatory at the age of 13, Yepes was unsatisfied with the old-fashioned tuition he was offered and transferred from the guitar class to the class run by the pianist Vicente Asencio.Asencio demanded from him a dexterity that seemed impossible at first, but Yepes proceeded to teach himself technique, to a point where it matched the agility of any pianist.He made his public debut at the age of 19 with an immensely successful performance of Rodrigo’s Concierto de Aranjuez.
如果说生于1893年的安德列斯•塞戈维亚生是第一个将吉他语言传递给上流音乐社会的翻译天才，就像帕布罗·卡萨尔斯在大提琴方面的贡献那样，那么34年后出生的那西索·叶佩斯则进一步发展了吉他及其演奏技巧，在保持吉他传统风格的基础上更加适应于现代音乐厅的需求。极具天赋，13岁就被瓦伦西亚音乐学院录取，因为对老式的教学方式不满，叶佩斯从吉他转向钢琴家韦森特·阿善西奥学习钢琴。开始，阿善西奥认为他的灵巧程度是不可能达到要求的，但后来通过叶佩斯自己不断地努力，其灵巧程度不亚于任何一位钢琴家。在19岁时他首次公开演出的《阿兰胡埃斯》就获得了非常成功的表现。
The young guitarist had reached an unprecedented level of virtuosity on his instrument.Within a few years he had conquered the concert halls of Europe, America and Japan.He not only departed from tradition in his playing technique but he also developed the guitar itself. After long consideration he had the master guitar-maker Ignacio Fleta of Barcelona make him a ten-stringed instrument: to the usual six strings were added four lower ones, the principal use for which was to enable every note of the scale to produce overtones. The outcome was a better balanced and richer sound, and further more it was now possible to play works written for lute or vihuela without first transcribing them.
年轻吉他手已掌握了前所未有的精湛技巧。在几年之内,他征服了欧洲的音乐厅,美国和日本。他的演奏技巧不仅突破了传统，而且还发展了吉他制作技术。经过长时间的思考，他让当时的吉他制造大师巴塞罗那的伊格纳西奥·弗列塔为他制作了一把十弦构造的琴：在平常六根弦的基础上再增加四根低音弦，主要目的是让每个音符都能发挥出作用而避免出现泛音。结果是一个更好的平衡和更丰富的声音，而且可以不需改编地弹奏为鲁特琴或比维拉琴所写的作品。
Yepes began to play the ten-string guitar in public in 1964. In his hands it was a modern and universal instrument, with which to perform the large and varied repertory of guitar music from the 16th century to the 20th sensitively, in appropriate styles, and with astonishing penetration.“If one wanted to sum up Yepes’s art in a couple of words,” wrote the German record magazine FonoForum, “for all its precision and stupendous virtuosity one would have to call it reticent, at times even internalized.”As a DG exclusive artist Yepes made guitar music familiar and popular all over the world. He played lute works by Bach and Vivaldi on his instrument too, but Spanish music was always at the heart of his repertory, for his art was profoundly and indelibly stamped by Spain. This is especially obvious in the 7 Popular Songs by Manuel de falla, which Yepes recorded with Teresa Berganza in 1976.
叶佩斯于1964年开始了他十弦吉他的公开演出。在他的手中,这是一个现代和通用乐器，从16世纪到20世纪的吉他音乐无论是大型曲目还是风格迥异的曲目，都能够以敏锐的角度和最恰当的方式表现出来，而且有着惊人的渗透力。“如果一个人想用两个词来总结叶佩斯的艺术,“德国唱片杂志FonoForum写道,“将所有的精准和惊人的精湛演奏技巧可以归结为讳莫如深和浸透心脾”。作为德意志留声机唱片公司的独家艺术家，叶佩斯使吉他音乐被世界各地所熟悉并受到广泛欢迎。他可以用鲁特琴和他创造的吉他来演奏巴赫和维瓦尔第的作品，但西班牙音乐总是他曲目的核心，西班牙已深深地印在了他的艺术之中。
这一点在叶佩斯于1976年和特蕾莎·贝尔冈扎合制的唱片马努埃尔·德·法雅的7首流行歌曲中尤其明显。
Deutsche Grammophon’s collaboration with Narciso Yepes made recording history and performance history, and it had a decisive influence on present-day understanding of guitar music.
那西索·叶佩斯录制唱片的历史、演奏历史、和对吉他音乐的理解至今还有决定性的影响都体现在与德意志留声机唱片公司的合作之中。
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