转:Brahms - Piano Concerto

http://www.weimei.org/forum/content/bd6c65311c4d6acc011c4fad02930235

This is the Brahms piano concerto set we've been waiting for,” was Jed Distler's verdict back in September
last year. News of a reinvigorated Gewandhaus Orchestra had been emerging from Leipzig for some months, then London audiences were treated to a live Mahler Seventh under Riccardo Chailly that backed up those rumours…and more. Then came this magnificent achievement.


Each generation seems to produce a single outstanding pair of the Brahms piano concertos - Rudolf Serkin with George Szell, Leon Fleisher, again with Szell, Emil Gilels with Eugen Jochum, Stephen Kovacevich with Wolfgang Sawallisch and now, the recording for a new millennium perhaps, Nelson Freire with Chailly.


Freire's has been a slow-burn career, never illuminated by the full glare of the spotlight despite an impressive collection of prizes and awards to his name (including the Dinu Lipatti medal in 1964). He's not a regular on the concert-hall circuit, but chooses his dates sparingly and wisely. His grasp of these vast edifices is remarkable, not just in their colossal technical demands but in their moments of poetry where Brahms the chamber musician steps to the fore. Listen to the long-breathed unfurling of the beautiful Andante third movement of the Second, with its exquisitely shaped cello solo; Freire's gentle picking up, maintaining and savouring of the exact mood is heart-stoppingly managed. He is as convincing in the torrential opening paragraphs of the First Piano Concerto as he is in the lilting, graceful finale of the Second.


Listening to these two remarkable performances is
to be reminded of Riccardo Chailly's singular skill as an accompanist: he clearly gets totally inside his partner's conception of the piece and provides an accompaniment which at one minute might buoy up a particularly poetic phrase, while at another may crash gloriously in on one of Brahms's magnificent tuttis, leading with a new mood that he has established and gauged perfectly for his soloist. To quote Jed Distler again: “In Chailly's hands, a genuine chamber music aesthetic consistently governs the lustrous warmth of Brahms's underrated orchestrations, to say nothing of the heights to which the conductor has led his revitalised Leipzig Gewandhaus ensemble.”


Recorded live in the fine acoustics of the orchestra's home and beautifully balanced by engineer Philip Siney, these are terrific performances that offer up new wonders at each listening. In Chailly and his fine German orchestra, Freire
has found partners fully attuned to his approach to these works, but partners too who bring so much individuality
and personality and, also, a corporate “memory” and
wisdom that goes back as far as the 18th century.

专集曲目：

Track listing:
CD1
1. Piano Concerto No.1 in D minor, Op.15 - 1. Maestoso - Poco più moderato
2. Piano Concerto No.1 in D minor, Op.15 - 2. Adagio
3. Piano Concerto No.1 in D minor, Op.15 - 3. Rondo (Allegro non troppo)

CD2
1. Piano Concerto No.2 in B flat, Op.83 - 1. Allegro non troppo
2. Piano Concerto No.2 in B flat, Op.83 - 2. Allegro appassionato
3. Piano Concerto No.2 in B flat, Op.83 - 3. Andante - Più adagio
4. Piano Concerto No.2 in B flat, Op.83 - 4. Allegretto grazioso - Un poco più presto
不是“分轨”加工,是原版现场真声实录！
现场录音：钢琴与乐队一次现场录音合成！

音乐史上习惯把勃拉姆斯归类于“浪漫大师”，是浪漫派中古典主义的杰出代表。作为以崇尚理性和批判、独立精神的德奥音乐传统，如果没有丰厚的学识素养和人生阅历是很难感受其中宏大、壮观的史诗性叙事结构的。正如一部审慎的心灵思想史一样，勃拉姆斯的这两部钢琴协奏曲激情和理智交错、充满剧烈英雄式的悲壮性，布局严谨、气势恢宏。

尼比森.弗莱雷 (钢琴) 夏伊 指挥 莱比锡布商大厦管弦乐团的布拉姆斯：第1＆2号钢琴协奏曲荣获2007留声机最佳唱片大奖，Freire与Chailly/Gewandhaus带来的钢协，是继Gilels，Arrau之后，又一个让人既振奋又感动的演绎。对于一个钢琴家而言，其音乐思想深邃，富于哲理宣叙的特点，没有深刻极高的音乐悟性是“拿”不下来的，钢琴音乐史上版本浩繁，钢琴大师尼尔森.弗莱雷进行了深入的文献、版本研究，使用1883年的莱比锡原版总谱，忠实还原作曲家精神。

尼尔森• 弗莱雷(Nelson Freire，1944～)是一位不世出的巴西钢琴大师，生于巴西,从小登台演出,多次赢得国际钢琴大奖，包括：里约、热内卢和维也纳.蒙塔国际钢琴大赛首奖，1964年赢得迪努.里帕蒂国际大赛金色奖章.他的出色而持续的钢琴技巧弹奏难度艰深的钢琴协奏曲而著称。他与名声显赫的阿根廷钢琴女杰阿格里奇是同时代人，两人正好形成明、暗两极。国内乐迷对他可能还很陌生。现在的古典唱片市场冷落，即使推出新专辑，也多只能从过去的库存里清点组装。不过，环球Decca公司看重的是真正的艺术价值，于2002年与弗莱雷这位寂寞高手签下独家合约。迄今已有两张肖邦，一张舒曼问世。而这款最新制作，录制的是勃拉姆斯仅有的两部钢琴协奏曲，其中第二号录于2005年11月，第一号更是今年2月才录制，而且均是现场演录！由于勃拉姆斯本身是一位出色的钢琴家，其钢琴演奏被舒曼誉为“具有高度禀赋”。弗莱雷的演奏，既秉承了前辈大师如施纳贝尔、鲁宾斯坦的优雅深邃，也融入了自己最突出的演奏特色：不刻意雕琢或者炫耀技巧，力求使整个作品浑然一体，含蓄内敛，但该有的技巧与起伏也处理得游刃有余。如第一号中第三乐章回旋曲，能充分“把19世纪传统的炫技辉煌与交响性的分量结合起来”，整个演奏令人激赏。录音中的某些乐段，听者还能感受到弗莱雷那种磅礴厚重的左手技巧，以及非凡的控制力。与弗莱雷合作参与这张专辑演录的，是指挥家夏伊和莱比锡格万特豪斯乐团，此新演录无论艺术表现力还是录音技术都具有精深高端的特质。自2001年成为Decca的专属音乐家以来，此为弗莱雷首度录製钢琴协奏曲。演奏生涯超过50年，被喻为拥有「风暴般的钢琴力量」，但他绝少公开演奏，反而潜心于音乐修为之提升。此次他与夏伊合作录製布拉姆斯的两首协奏曲，堪称唱片界总结性的代表录音；细腻的演奏，充满微妙的情感变化。精湛的指法，绵密的韵律与细节中铺陈开来的想像力，是大师风格的顶尖之作。