找回密码
 立即注册

古典/交响/奏鸣曲 Marie & Veronica Kuijken, La Petite Bande - Mozart, W.A.: Piano Concertos KV 413, KV 414 & KV 415 (2017)[DXD 24bit 352.8khz FLAC 百度云]

Hi-Res
声道: 双声道(Stereo) 
封面:
folder.jpg
简介:
Sigiswald Kuijken: Mozart conceived the 3 piano-concerti KV 414, 413 and 415 in 1782, one year after he had settled in Vienna as a more or less free-lance musician. From onset, his idea was to get these works (KV 414, 413 and 415) published; he obviously expected a positive response from the public, not only on the financial level but also as a composer and piano virtuoso. In order to enhance the attraction for his publication, he decided to write these concertos in such a way that they could be performed not only with full orchestra (i.e. strings and winds), but also with a reduced accompaniment of only string quartet. Clearly, Mozart did not consider this strategic starting point as an artistic limitation, but rather as a challenge: in fact, already the score without the wind parts should leave nothing to be desired. This resulted in a very careful and beautiful string writing, matching the solo part in the most effective and intimate way. The wind parts were then conceived to accentuate and “colour” certain passages in the accompaniment with even more depth.
Although Mozart in his announcements and the print of these concerti always mentions the “normal” composition of the string quartet (2 violins, viola and violoncello), I took the liberty to replace the violoncello by a double bass in our performances and our recording of these concertos. My reason was purely musical. Looking and listening to these works, we find a clear difference concerning their string-bass writing compared with Mozart’s own quartets for violin, viola, violoncello and piano, or also his trios for violin, violoncello and piano.
In these piano concertos the string bass is only playing the essential bass-line of the whole texture, thus very often doubling in simplified way the soloist’s left hand. Therefore, in fact this so called “violoncello” part shows exactly what the usual “basso” parts show in orchestral works or generally in the more conventional divertimento-style: offering and strengthening the (highly necessary) fundamental bass on which the whole of the construction is resting. So replacing the violoncello by a double bass in this reduced version of these concertos seems to me an obvious choice.
曲目:
Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto No.11 in F Major, K.413/387a
[1] Allegro 10:12
[2] Larghetto 7:33
[3] Tempo di Minuetto 5:41
Piano Concerto No.13 in C Major, K.415/387b
[4] Allegro 10:44
[5] Andante 7:23
[6] Rondeau. Allegro 8:20
Piano Concerto No.12 in A Major, K.414/385p
[7] Allegro 10:00
[8] Andante 7:45
[9] Rondeau. Allegretto 6:49

试听:


游客,如果您要查看本帖隐藏内容请回复☆ ⌒_⌒☆。
  1、本主题所有内容均为互联网采集所得。
  2、SACD.NET仅对作品介绍展示,不直接提供下载服务。
  3、版权归唱片公司和歌手所有,如侵犯您的权益,请通知我们,我们将及时删除。
  4、如果你喜欢主题所述内容,请你通过正规渠道购买正版。
回复

举报

大神点评(16)

说点什么

您需要登录后才可以回帖 登录 | 立即注册
HOT • 推荐
发布新帖

© 2018 SACDR.NET

如果你还不知道SACD如何播放请看这里

简单快捷的SACD镜像分轨提取DSF转换格式

DTS镜像类NRG.MDF.Bin文件提取软件与教程

Foobar 2000播放器DTS插件与安装教程 如需帮助请给我们发邮件:sacdr#qq.com 关注公众号论坛信息同步:sacdr_net ------------------------------ 解压密码默认为www.eaymusic.com或者sacdr.net