Gramophone Magazine, 3/1999, Lionel Salter: "the contrapuntal lines here emerge with great clarity and with a subtlety of timbre, articulation and dynamics beyond even the ablest keyboard player, thanks to Phantasm’s accomplished and expressive performances. The group offers the first 11 contrapuncti (fugues on the subject rectus, inversus or combined with its own augmentatio...(展开全部) Gramophone Magazine, 3/1999, Lionel Salter: "the contrapuntal lines here emerge with great clarity and with a subtlety of timbre, articulation and dynamics beyond even the ablest keyboard player, thanks to Phantasm’s accomplished and expressive performances. The group offers the first 11 contrapuncti (fugues on the subject rectus, inversus or combined with its own augmentation or diminution, and double fugues), without the canons or mirror fugues, but plus the final uncompleted chef d’oeuvre that was to have crowned the awesome project; about Phantasm’s playing there is no mere atmosphere of transcendental science, however, and it allows new insights into Bach’s prodigious mind. In his transcriptions for string quartet of fugues from the 48 (putting one a semitone down for convenience), Mozart – who, it is reported, constantly had Bach’s volume lying open on his piano – made a few small adjustments to details of rhythm and part-writing; and the process also fired him to write several fugues of his own, including the one in G minor (for piano solo or duet) here. The Phantasm ensemble, despite a slight tendency to hurry, brings a smile to one’s lips by its intonation, precision and, above all, musicality."
曲目
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Bach: Art of Fugue, BWV.1080 (1-11, 19) Contrapunctus 1-11 Incomplete Contrapunctus Mozart: Fugues Arranged for Quartet, K.405 from Bach's Well-Tempered Clavier II Fuga 1 in C minor (after BWV.871,2) Fuga 2 in E major (after BWV.876,2) Fuga 3 in E major (after BWV.878,2) Fuga 4 in D minor (after BWV.877,2) Fuga 5 in D major (after BWV.874,2) Mozart: Fuga in G minor, K.401
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0 有用 calvino 2015-06-14
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0 有用 calvino 2015-06-14
Naxos ML