Janine Jansen (Violin) & Maxim Rysanov (Viola) & Torleif Thedeén (Cello) -《巴赫 创意曲&变奏曲》(Bach INVESTIONS & PARTITA)[MP3]
专辑英文名: Bach INVESTIONS & PARTITA
专辑中文名: 巴赫 创意曲&变奏曲
艺术家: Janine Jansen (Violin)
Maxim Rysanov (Viola)
Torleif Thedeén (Cello)
资源格式: MP3
发行时间: 2007年
地区: 英国
简介:
我个人超级喜欢的一位荷兰小提琴家~~~哈哈，虽然觉得她的风格其实和巴赫的风格并找不到太多相似之处，不过这样处理也确实很有意思，不妨来听听看哦~~
该碟为自转192kbps
Janine and Bach
“These pieces are not played enough. They deserve to be played! They are such wonderful, genius pieces.” Janine Jansen on Bach’s Inventions
Following a triumphant concerto recording featuring the pillars of the Romantic violin repertoire, Janine Jansen reverts to the roots of violin playing with a chamber survey of the musical voices of Bach. The Two-part and Three-part Inventions were originally solo keyboard pieces composed for Bach's students. For this recording, the blend of violin & viola, and violin, viola & cello gives the music a completely new resonance. The recording opens with 15 Two-part Inventions BWV 772-786, transcribed for violin and viola. Janine is joined by Maxim Rysanov, one of today's best and most charismatic viola players. The central work on the CD is a solo performance of Partita No. 2 in D minor. This grand solo Partita contains five movements: four traditional dances concluded by the monumental Chaconne. The recording concludes with 15 Three-part Inventions BWV 787-801, transcribed for violin, viola and cello. Cellist Torleif Thedéen, one of the most highly regarded Scandinavian musicians, adds the third voice.
A chamber approach
For Janine Jansen, playing chamber music is as natural as living and breathing, as witness her trail-blazing account of Vivaldi’s Four Seasons with solo string accompaniment (475 6418). Since 1998 Janine has been a member of Spectrum Concerts Berlin, an important chamber music series given in the Philharmonie, and in 2003 established her own international chamber music festival in Utrecht. This gave her the opportunity to work regularly alongside a number of renowned artists to whom she feels especially close, including Leif Ove Andsnes, Yuri Bashmet, Mischa Maisky, Julian Rachlin, Kathryn Stott, Jean-Yves Thibaudet and Maxim Vengerov. “I have played chamber music virtually all my life,” she beams. “When I was nine years old my violin teacher put me in a piano quintet and I’ve never looked back. It is so important to start at an early age because you learn to react to what is going on around you in such a direct and intimate way. Chamber music is so revealing — your true personality shines through in your playing. It is one of my great loves and, of course, the repertoire is incredible.”
Bach’s Two-part Inventions and Three-part Sinfonias (also often called Inventions) were originally solo keyboard pieces composed for his students as preparatory exercises for more complex pieces of counterpoint. His main aim was to ensure that each part was clearly defined and delivered in a singing style, qualities that lend themselves particularly well to string instruments. For the recording Janine and colleagues worked directly from Bach’s originals, with Maxim’s viola part written out in the alto clef. Occasional reference was made to the existing arrangement by Ferdinand David (for whom Mendelssohn composed his E minor Violin Concerto), when for practical reasons one of the instruments needed to make an octave transposition in order to play a melodic line. “It’s an ongoing search to find a way to play Bach. And then of course to play chamber music, to have two people coming together, the challenge is not only the intonation. It is about finding the same musical idea, the same character, the same articulation, the same phrasing.”
Recording the solo Partita
Bach’s mighty D minor Partita, most notably the epic Chaconne finale, is a daunting task for all violinists. “I must have been playing the Partita for fifteen years, but when the time came to record it I was so overwhelmed by feelings of awe and respect that for a while I simply couldn’t put bow to string. My producer Friedemann Engelbrecht and Maxim, who was also there during the recording of the Partita, really helped me through this moment. Once I got over it, I had a great time — that piece has such an incredible tension right from the beginning.”
“As I listened to the playbacks I discovered I was subtly changing my approach with each take in order to play more effectively for the microphone. I found myself changing the way I played chords, for example, so that I achieved the same kind of rounded tone quality I strive for when playing this remarkable piece in concert. But with Bach’s music one is always searching and discovering new things, so that even during the sessions we found ourselves coming up with fresh ideas and approaches all the time. It is such amazing music that the possibilities seem truly endless.”
Interpreting Bach
This inevitably brings us to the question of how far Janine is influenced by the period instrument movement when playing Bach. “I grew up with the Baroque style,” she recalls fondly, “as my father is an organist-harpsichordist and my uncle a Baroque singer, so it was a part of my life from a very early age.” Yet although she is a great admirer of such celebrated Baroque violinists as Rachel Podger and Andrew Manze, Janine has so far resisted the temptation to go down that route herself.
“Exposure to the authentic style of playing naturally affects the way you view this music,” she explains, “but in the end I think one has to go with one’s own feelings and musical instincts. I use a modern instrument and bow, and for me it’s the way you breathe with the music and the way you phrase that actually defines your artistic personality. Baroque music tends to get “boxed in” if you are not careful. The idea that you cannot use vibrato, for example, or have to play particular phrases in a particular way — I really don’t think it needs to be that strict. Mine is instinctively a Romantic approach, so I tend to use vibrato as a natural expressive device, as an added colour. Fortunately the three of us seemed to feel this wonderful music in much the same way so that gave us a head start.”
“I learned more about playing Bach in those five days than I learned through my whole life. You just have to listen, open your ears and find a way… the most important thing in music is that it touches you.”
