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专辑英文名: Italian Concertos 专辑中文名: 义大利巴洛克小号协奏曲 古典类型: 协奏曲 资源格式: FLAC 发行时间: 2010年10月25日 简介:
专辑介绍:
一头金髮、穿著今年女生们最时尚的麂皮浅黄短靴、一身简约风的套装，看著艾莉森鲍尔珊坐在高脚椅上，和乐团合录这些协奏曲的景像，实在很难对照整张专辑完成后那些小号声就是出自这样一位年轻时髦女孩的口中。可以料想，也正是这种视觉与听觉上的衝突，挑战了许多人对小号音乐和美女这两种意象的传统观念，让鲍尔珊瞬间就在乐坛窜起。随著时代的演进，我们逐渐习惯女性钢琴家、小提琴家、大提琴家出现在我们的听觉和视觉习惯中，但是，还有很多领域还是一直不习惯有女性从事的，小号就是这么一个领域，毕竟，就算是男性，在学习小号时，也总是遭遇许多的挫折：高音吹不上去、肺活量不够、即使每天拉长音的练习，声音还是不够饱满、嘴型无法克服、舌头无法做出快速的花舌吹奏等等，也因为这样，这个领域一直都还是男性演奏家的天下，虽然有很多女校的铜管乐团出现，但是，既有的成见，却要等到鲍尔珊出现后，才真正被打破。今年三十三岁的她，从高中开始加入铜管乐团，之后一路念到苏格兰音乐院和巴黎音乐院，二十五岁时为EMI出了第一张专辑，之后在独奏生涯之餘，还一边担任伦敦室内乐团的首席小号手，并从零一年开始就担任英国市政厅音乐与戏剧学校的小号教授一职。而且在今年春天，她还升格当了妈妈，为英国指挥家艾德华嘉德纳生下一子。
这张义大利巴洛克小号协奏曲专辑，是鲍尔珊来到EMI发行的第五张个人专辑，专辑中她选录的全部都是改编自巴洛克知名协奏曲的作品，其中包括韦瓦第著名的作品三之中的小提琴协奏曲、马彻罗知名的双簧管协奏曲、还有三首她自己改编的曲子。改编其他乐器供小号吹奏的习俗是从小号大师安德烈以来就有的惯例，毕竟小号协奏曲数量并没有那么多，为了有足够的曲目支撑音乐会演出，这样的改编无可避免，但是鲍尔珊更大胆的是，她选了相当知名的曲目来改编，说这是大胆，因为这很容易招来比较和批评，但她的才华和吹奏能力，让她顺利避开了这样的比较和批评，这张专辑也因此成为她最具有雅俗共赏吸引力的一张专辑。
EMI 50999-456094-2(1CD)5099945609428
义大利巴洛克小号协奏曲【1CD】
Italian Concertos
艾莉森?鲍尔珊, 小号 / 苏格兰合奏团
Alison Balsom, Trumpet / Scottish Ensemble
Audio CD (October 25, 2010)
SPARS Code: DDD
Number of Discs: 1
Label: EMI Classics
ASIN: B002YH6FQA
Label:EMI
Catalogue No:4560942
Discs:1
Release date:18th Oct 2010
Barcode:5099945609428
Medium:CD
'She makes the trumpet sing with an irresistible exuberance and eloquence.' With the human voice a particular inspiration in the music of Italy, the words of The Times have a special resonance for Alison Balsom in these works composed or inspired by Italian composers of the 18th century. This collection provides an apt vehicle for the award-winning trumpeter's characteristic brilliance and grace.
Following the popular and critical international success of her Haydn and Hummel concertos recording, Alison Balsom has recorded a programme of Italian Baroque concertos. The album has quickly garnered critics’ praise: “The fast movements are played with sparkling ease and technical brilliance. The slow movement [Balsom] forms delicately, tenderly, yet without denying she’s playing a brass instrument.” - MDR Figaro
After the release of Caprice in 2006, Gramophone wrote, “It's not often that a young musician appears on the scene abundantly blessed with everything both an A&R and marketing person could dream of, but the young British trumpeter Alison Balsom fulfils just such a dream. She's a musician of prodigious talent with an inquisitive, fresh approach to music-making. She is connected to her public, and rewards their attention with playing of a winning ease and fluency. She has an engaging personality … and the intelligence to take her burgeoning career well in her stride.” In this new recording, Balsom, the 2009 Classical BRIT Artist of the Year, plays popular concertos originally composed for the violin or oboe by Vivaldi, Tartini, B. Marcello, Albinoni and Cimarosa, accompanied by the Scottish Ensemble.
“The days are long gone when blowing a brass instrument was a male preserve. Even so, the young trumpeter Alison Balsom remains a singular figure. It’s not that she's long and blonde; it's the roar of her talent that makes her stand out, along with her knack for breaking down barriers and making the trumpet so much more than a toot machine.” The Times
引用 review by James Manheim
The recital of Baroque music on a modern trumpet hasn't been much cultivated since the days of Maurice André, who pretty much cornered the market for many years. Young British trumpeter Alison Balsom here enters the field with a quite competent performance and should find strong success among buyers looking for modern engineering. Undeniably photogenic, Balsom has performed a good deal of crossover repertory and is a favorite among listeners of Britain's crossover-oriented classic FM radio. Here, however, she plays it relatively straight. Most of this music, it's true, was not originally for the trumpet, but that wouldn't have stopped any Baroque-era trumpeter. Except for Tartini's Trumpet Concerto in D major, D. 53, she relies on transcriptions of music for violin or oboe. The two kinds of originals produce pleasingly contrasting results. The oboe is closer to the trumpet in its capabilities and allows Balsom to display her clean, precise tone. She doesn't have quite the sparkling power of André in the Tartini concerto, but the oboe concertos by Benedetto Marcello and Tomaso Albinoni are attractively done. The adaptations of Cimarosa oboe pieces by Australian composer Arthur Benjamin are more of a historical curiosity than an ongoing thing. The main attractions are the transcriptions of violin works, two by Vivaldi and one by Albinoni. The Vivaldi concertos, especially, contain passagework that's difficult to execute on a trumpet, and Balsom, working from her own transcriptions, never loses focus; it's her accuracy rather than her power or even her considerable beauty of tone that sets her apart from her predecessors. Worthwhile even for those with André collections. Brief booklet notes are in English, German, and French.  
专辑曲目:
Antonio Vivaldi (1678 - 1741)
Concerto For Violin in A minor, RV356
[1] I Allegro [2:37]
[2] II Largo [2:34]
[3] III Presto [2:35]
Alessandro Marcello (1669 - 1747)
Concerto For Oboe in C minor
[4] I Allegro moderato [3:11]
[5] II Adagio [4:25]
[6] III Allegro [3:50]
Tomaso Albinoni (1671 - 1751)
Concerto For Oboe in B flat major, Op.7 No.3
[7] I Allegro [2:38]
[8] II Adagio [2:35]
[9] III Allegro [2:11]
Arthur Benjamin (1893 - 1960)
Concerto For Oboe in C minor (after Domenico Cimarosa)
[10] Introduzione (Larghetto) [2:40]
[11] Allegro [2:80]
[12] Siciliana [2:23]
[13] Allegro giusto [2:38]
Antonio Vivaldi (1678 - 1741)
Concerto For Violin in G major, RV310
[14] Allegro [2:13]
[15] Largo [3:40]
[16] Allegro [2:32]
Giuseppe Tartini (1692 - 1770)
Trumpet concerto in D major, D53 (originally for Violin)
[17] Allegro [3:51]
[18] Andante [2:53]
[19] Allegro Grazioso [3:40]
Tomaso Albinoni (1671 - 1751)
Concerto after Sonata da Chiesa in D minor
[20] Grave [2:23]
[21] Allegro [2:30]
[22] Largo [1:56]
[23] Allegro [2:30]
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