Alison Balsom -《小号奇响曲》(Caprice)

专辑英文名:Caprice 专辑中文名:小号奇响曲 别名:随想曲 艺术家:Alison Balsom 古典类型:全集作品 资源格式:FLAC 版本:[24bits 44.1KHz] 发行时间:2006年10月03日 地区:美国 语言:英语

简介:

专辑介绍:

当今新一代小号第一人，收录许多让人与小号联想在一起的名曲

2006年9月推出，同时获得「铜管乐世界杂誌」（Brass Band World magazin e）「2006年度最佳独奏唱片奖」（Solo CD of the Year 2006）。

看了一下介绍"随想曲"是一位女小号演奏者所吹奏的专辑,就点来听听.我的双眼马上就被响亮的小号给吸引了,我已经很久没有听到中意的小号乐手所演奏的乐曲了.如果,您也喜欢小号音乐,一定要听听她的小号乐曲哦.

小号演奏者:艾莉森．鲍尔珊 Alison Balsom 伴奏乐团:艾德华．嘉特纳 指挥 戈登堡交响乐团 Gardner conducts Gothenburg Symphony Orchestra

女性小号家艾莉森鲍尔珊毕业自英国市政厅音乐戏剧学校，后来在巴黎音乐院进修，先后师事小号名家Hakan Hardenberger和John Wallace，这两位都是二十世纪下半叶小号技巧最惊人的名家。

多年来她已经与诺灵顿、安德鲁．戴维斯等指挥家合作过，她对巴洛克和现代小号都相当有研究，还组成了自己的鲍尔珊管乐合奏团，前后到过美国、南美洲、欧洲和亚洲各国演出。她并且也委託许多现代作曲家创作新作品，目前被聘为英国市政厅音乐戏剧学校的客座教授。

在这份录音中，她选录了一系列很少让人与小号联想在一起的名曲，中间穿插几首原本就是写给小号的小品。她在片中採用三种小号吹奏，分别是C调、降E调和短号来吹奏不同的乐曲。

其中有几曲特别艰难，像是帕格尼尼的第24号奇想曲，还有莫札特歌剧「魔笛」中，给夜之后演唱的咏嘆调「地狱的怒火」。片中也有几首让人意想不到的改编曲，其中特别值得一提的是瑞典作曲家林柏格的行板，后来被著名的流行合唱团阿巴改编，在该团於1979年的世界巡迴演唱会上当作开场曲。另外皮亚佐拉的探戈舞曲和法雅的音乐，也是很少和小号联想在一起的音乐，这也让我们听到小号在更具有歌唱性格的乐曲中的表现。

会介绍这张给大家欣赏,主要是曲目都是音乐会常见到的曲目.有些曲目也被改编成其他乐器演奏,这些音乐不会让您觉得太过古典到想睡觉或听不下去.我个人很推荐第一首土耳其进行曲的轻快.第二首前3分鐘的柔情和3分鐘后的激情演出.第十四首这个片段也常被拿来演奏,是出自魔笛.其他曲目也都非常的好听,希望您会喜欢哦.

商品条码 : 0094635325522 商品编号 : 35325522 演奏者 : 艾莉森鲍尔珊 Alison Balsom - 查看所有专辑 指挥家 : 乐团 : 作曲家 : 专辑名称 : 小号奇响曲 Caprice:Transkriptionen fur Trompete 音乐类型 : 古典音乐 [CD 器乐作品] 发行公司/日期 : 金牌大风　2006/10/3 制作公司 : EMI 内含片数 : 1

1.莫札特：土耳其进行曲 2.皮亚佐拉：自由探戈 3.奥斯卡．林柏格：行板 4.阿邦：「诺玛」变奏曲 5.帕格尼尼：第24号小提琴奇想曲 6-12. 法雅／贝里欧：七首西班牙流行歌谣 13. 拉赫曼尼诺夫：练声曲 14. 莫札特：夜之后的花腔之歌 15. 巴哈：第一号小提琴协奏曲－行板 16. 德布西：牧笛 17. 汤玛西：小号协奏曲－夜曲 18. 皮亚佐拉：校园

引用 Alison Balsom - Gothenburg Symphony Orchestra*, Edward Gardner – Caprice Label: EMI Classics – 3 53255 2, EMI Classics – 0946 3 53255 2 2 Format: CD, Album Country: Europe Released: 2006 Genre: Latin, Classical Style: Baroque, Classical, Impressionist, Modern, Romantic, Tango

Orchestra: Gothenburg Symphony Orchestra Conductor: Edward Gardner Composer: Wolfgang Amadeus Mozart, Astor Piazzolla, Oskar Frederik Lindberg, Jean-Baptiste Arban, Niccolo Paganini, et al. Audio CD (October 3, 2006) Number of Discs: 1 Label: Warner Classics ASIN: B000HKD7OY

4 Sep 2006 Barcode: 0094635325522 Composer: Various Other participants: Alison Balsom * Göteborgs Symfoniker * Edward Gardner

Alison Balsom: The top brass

'Brahms, Beethoven, Schubert …" Trumpeter Alison Balsom sighs as she reels off the names – and in that sigh lies the reason why the trumpet is an unlikely Cinderella on the classical concert podium. "How amazing it would be to have music by these composers!"

The lack of much in the way of classical music to play is the problem with the classical trumpet – and the reason why, as a classical soloist, Balsom is one of a relatively rare breed. By the time the modern trumpet had been perfected – with valves enabling the player to produce every note of the chromatic scale, perfectly in tune – most of the composers who wrote the kind of concertos that make pianists' and violinists' careers were dead. There is no great romantic warhorse by Tchaikovsky, Bruch or Mendelssohn, no trumpeter equivalent of Liszt or Paganini to have lent the instrument a patina of romantic mystery. What, then, is to be done with the trumpet as a serious solo instrument?

Balsom isn't sure she has the answer, but she is the UK's best hope of raising its profile. And, let's get this over with: that's despite – or perhaps in part because of – her gender. When during the World Cup the Daily Mail wanted a trumpeter to demonstrate how to get more than one note out of a vuvuzela, it was Balsom they called on. Within her field she stands out simply because, according to stereotype, trumpeters are loud, beer-sodden and male. Not, however, in Balsom's own experience, from her childhood in the youth music groups of Hertfordshire onwards. "I played in a brass band since I first started, when I was seven, and there were loads of girls. Some of my best friends from that time are now in principal positions in the London orchestras." Until quite recently that included Balsom herself, who reluctantly left the London Chamber Orchestra as her solo career took off.

Now she is on to her fifth disc for EMI: 18th-century concertos by Vivaldi, Albinoni and other Italians, all originally written for oboe or violin, adapted by Balsom herself, mostly to accommodate the different capabilities of a violinist's bow and a trumpeter's lip: "You can't play continuously for several minutes the way a violinist can." She has already recorded the two acknowledged gems of the classical trumpet repertoire, the concertos by Haydn and Hummel – and that disc was one of the New York Times's picks of 2008. Advertisement

In concert, however, she just as often finds herself asked to play four-minute wonders. Balsom's previous album, Caprice, is a whole programme of these, and good listening it makes, too, thanks largely to some whirlwind display pieces by composers such as Astor Piazzolla. "His Libertango is the perfect encore. I've played it hundreds of times. But my challenge is to get the serious stuff done."

In that mission she is following the Swedish virtuoso Hakan Hardenberger, who was her inspiration for wanting to become a soloist when, aged nine, she first heard him in concert, playing the Hummel concerto at the Barbican. "I remember every moment of the day, even that we stopped at KFC on the way! It wasn't really about the fact that he played the trumpet, it was just that it was a wonderful performance. So when I found myself at the Barbican a couple of years ago playing the Hummel, I was so happy. It was a really special feeling."

Balsom would go on to become one of Hardenberger's students, and some of his zeal for commissioning new work seems to have rubbed off. She's especially enthusiastic about British composers and is due to premiere Seraph, a new work by James MacMillan, with the Scottish Ensemble next February. She also talks of her affinity with "people like Oliver Knussen, Colin Matthews, Huw Watkins, Mark-Anthony Turnage. They understand the instrument and its subtleties. All the trumpet players today – it's almost as if we all play different instruments. A composer would create something quite different for me than for Hardenberger. That's why it's incredibly exciting to work with the composer. There's not that many of us, and it feels like treading a path that's never been trod."

In fact, much of her solo career has felt that way. "I remember at the beginning, that was the biggest challenge: what do I do now? My teacher was wonderful, but he was an orchestral trumpeter, and he said he couldn't advise me. So it was a case of finding the way for myself."

First, she auditioned for support from the Young Concert Artists Trust. "They represented me for three years, watching over me before I went out into the big bad commercial world, and that's when I learned what was going to work and what wasn't. I started to work out how I could find a way of playing the trumpet as a solo instrument, where the audience were interested and I felt there was integrity in what I was doing."

That integrity is more important to Balsom than some might think, clocking her gala appearances and her successes at the commercial back-scratch that is the Classical Brits (she was 2009's Female Artist of the Year). "I find it kind of amusing that people think I do crossover, because I've never done any of that music. Lots of people might buy an album because they heard it on Classic FM, but that doesn't make it crossover. It does, as far as I'm concerned, do exactly what I was trying to do – which is to popularise the instrument without ever dumbing down. Even if I'm playing a very light gala concert, I'll still play a whole concerto rather than a single movement, and I'll play it exactly the way I would if I was playing with the Concertgebouw. But I suppose people think I do crossover just because there's a glamorous photoshoot."

In which case, why not ditch the ballgowns on the album covers? For our interview, Balsom is in leggings and jumper, casual but immaculate: how about doing the CD covers that way? "I would love to. But unfortunately I seem to be a small pawn in this big chess game where there are albums to sell. I quite often ask them to please just send trouser suits [to wear for a shoot], and I'll turn up and there'll be 25 red Dynasty-style ballgowns on the rack. But you've got to choose your battles, particularly when your time is important."

Since earlier this year, that time has been more precious than ever: in spring Balsom gave birth to her first child, Charlie. Has motherhood changed how she sees her career? "Not too much. Even before, I was thinking I don't want to be orbiting the globe for the sake of it. I'm lucky that with the work I do, there is lots of preparation at home. Though I really underestimated that, with the baby – I thought I could practise while he's asleep, but I need to play loud."

Charlie's father is Edward Gardner, music director of English National Opera; he and Balsom met while working with the Colorado Symphony a few years ago. It should be a PR dream, but the pair are resisting attempts to turn them into a golden couple of classical music. "We don't have any plans to work together in the future, and that's good – if the other is free they can come along and support." Or babysit, perhaps.

But for now, Charlie is playing with his grandmother, Gardner is rehearsing at ENO, and Balsom is off to sort out her visa for a country where she can garner gala-style audience enthusiasm for serious classical repertoire, and nobody will cry crossover: Brazil. "It's lovely playing to an audience who screams like it's a pop concert when you play a Haydn concerto!"

Alison Balsom: Italian Concertos is released by EMI on 18 October.

Copyright © – EMI Records Ltd. Designed At – WLP Ltd. Distributed By – EMI-Odeon S.A.I.C. Licensed Through – Eaton Music Ltd. Licensed Through – Kassner Associated Publishers Ltd. Licensed To – Universal Edition AG Manufactured By – Teltron – 18051 Phonographic Copyright (p) – EMI Records Ltd. Published By – AB Nordiska Musikförlaget Published By – Edizioni Curci S.r.l. Published By – EMI-Odeon S.A.I.C. Published By – Hawkes & Son Published By – Pagani Srl Published By – Universal Edition SpA Recorded At – Concert Hall Of The University Music School, Cambridge Recorded At – Göteborgs Konserthus

Credits

Conductor – Edward Gardner Design, Art Direction – Paul Mitchell (9) Engineer [Balance Engineer] – Simon Eadon, Simon Vout (tracks: 16), Will Brown (3) Liner Notes – Nigel Simeone Liner Notes [French Translation] – Dennis Collins (2) Liner Notes [German Translation] – Eckhardt Van Den Hoogen, Renate Wendel Orchestra – Gothenburg Symphony Orchestra* Photography By – Richard Dunkley Producer – Jørn Pedersen (2) Production Manager – Kerry Brown (3) Trumpet [C Trumpet] – Alison Balsom (tracks: 2 to 13, 17, 18) Trumpet [E Flat Trumpet] – Alison Balsom (tracks: 1, 16) Trumpet [Piccolo Trumpet] – Alison Balsom (tracks: 14, 15)

专辑曲目:

01. Ronda a la Turque - Various Artists 02. Libertango - Various Artists 03. Andante - Gammel fäbodpsalm från Dalarna - Various Artists 04. Variations on Bellini's Norma (Casta Diva) - Various Artists 05. No. 24 in A Minor: 24 Caprices, Op.1 - Various Artists 06. El paño moruno: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 07. Seguidilla murciana: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 08. Asturiana: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 09. Jota: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 10. Nana: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 11. Cancíon: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 12. Polo: 7 Canciones populares españolas - Alison Balsom/Edward Gardner/Göteborg Symfoniker 13. Vocalise, Op.34 No. 14 - Various Artists 14. Der Hölle Rache: Die Zauberflöte, K.620 'The Magic Flute' - Various Artists 15. II. Andante: Violin Concerto in A Minor, BWV 1041 - Various Artists 16. Syrinx - Alison Balsom/Edward Gardner/Göteborg Symfoniker 17. II. Nocturne: Trumpet Concerto - Various Artists 18. Esqualo - Various Artists