Maria Joao Pires & Claudio Abbado -《莫扎特钢琴协奏曲二七号.二十号》(Mozart Piano Concertos Nos.27&20)[FLAC]
2013-01-25 20:43:53   发布人:tom   评论:0 点击:



专辑简介:

葡萄牙女钢琴家,4岁首次登台,6岁举行独奏会,被称为神童,9岁参加里斯本国际钢琴比赛获第一名,16岁在里斯本音乐学院毕业后在柏林参加国际青年钢琴比赛获第二名,同年在李斯特钢琴比赛获第一名。随后到慕尼黑留学,师从恩格尔继续深造1970年纪念贝多芬诞生200周年,在布鲁塞尔举办的贝多芬钢琴比赛获第一名,从而受到瞩目。皮尔斯以精湛的演奏技艺和独特的艺术处理方式,成为众多著名钢琴家中的一位佼佼者,其演奏不像巴西女钢琴家奥尔蒂斯那样轻柔洒脱,而以细腻、典雅、秀丽、妩媚而享誉世界。皮尔斯的演奏,音色极美,又善于在节奏与分句处理上表现出细微的变化。皮尔斯擅长演奏莫扎特和肖邦的作品,其演奏和录制的莫扎特钢琴奏鸣曲、肖邦前奏曲集散发出浓郁的法国沙龙气息。而肖邦夜曲则在浪漫气氛里,蕴涵着些许阴柔。

她与小提琴家杜梅组成的二重奏,是目前活跃在世界乐坛的最佳组合,深得各种媒体和乐迷们的好评。她和杜梅、王建一起,已形成室内乐的最佳搭档,演绎的室内乐作品有一种清新的美感。

It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-Jo?o Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect. In the Piano Concerto No. 27, Mozart's last, Pires emphasizes the music's evanescent quality in a really lovely, gentle performance. As for Abbado, he apparently failed to get the memo about how proper balance in Mozart's concertos is impossible with a large modern orchestra, for the interplay between Pires and his Orchestra Mozart Bologna is subtle and detailed. The only problem comes with Deutsche Grammophon's engineers, who give Pires' left hand too much prominence, perhaps more so in one of the recording's two locales (we don't learn which concerto was recorded in Bologna and which in Bolzano) than in the other. In general, an absolutely distinctive release of the old school.





http://www.amazon.com/Mozart-Concertos-Nos...0976LO6C

收藏