专辑英文名: Viktoria Mullova - Wolfgang Amadeus Mozart: Violin Concertos 1, 3 and 4
专辑中文名: 慕洛娃 - 莫札特︰第一、三、四号小提琴协奏曲
艺术家: Viktoria Mullova
古典类型: 协奏曲
资源格式: FLAC
发行时间: 2002年09月10日
地区: 美国
语言: 藏语
简介:
专辑介绍:
在莫札特五小提琴协奏曲里，第一号的演出机率虽然不若其他曲子高，不过在优美、没有骇人技巧的乐音后，却隐藏著对演奏家最大的考验，也就是如何表现莫札特音乐中温暖的美感。第二号小提琴协奏曲是舞首作品里最「时髦」的，洛可可式典雅的第一乐章让他带有浓厚的法国风味。第四号小提琴协奏曲很可能是以包凯里尼的小提琴协奏曲为创作范本，因为莫札特在第一乐章採用了军队进行曲的节奏，因此又有「军队」的别名。
在西方展开演奏生涯开始，穆洛娃就以冷艳的风格掳获乐迷的心。不过，随著时间的成长，除了保持极高的精确性和技巧性，穆洛娃的音乐风格也开始变得丰富多变了起来，并以全心的风貌回到古典时期，詮释莫札特这三首经典的小提琴协奏曲
生平
穆洛娃Viktoria Mullova(1959~)俄罗斯 1959年出生於莫斯科近郊的穆洛娃，五岁开始学琴，之后随欧伊斯特拉赫的学生，也曾经是柯冈助理的布若宁（Volodar Bronin）学琴，十六岁即夺得韦尼奥夫斯基大赛第一名。之后进入莫斯科音乐院，拜在柯冈门下。在音乐院期间，她荣获西贝流士音乐大赛首奖，1982年更勇夺柴可夫斯基大赛首奖的最高荣誉。1983年六月，俄罗斯官方派穆洛娃前往芬兰赫尔辛基举行演奏会，由於对自由世界的嚮往，以及对祖国政府不满的情绪驱使下，决定投奔自由。她利用七月二日第二场演出的机会，和随行的钢琴家乔达尼亚搭车逃往瑞典，七月四日一早更搭机飞往斯德哥尔摩直奔美国大使馆。不巧当天正好是美国独立纪念日，他们便在警察的保护下先住进饭店，并於次日正式寻求政治庇护，从此全世界的乐迷们得以欣赏到她美妙的琴艺。 穆洛娃是一位技巧精湛，音质纯度几近洁癖般的小提琴家，她敏锐的音乐性更展现出独特的演奏风格。
Viktoria Mullova plays Mozart: that's already enough to get my attention. As anyone who's heard her Bach - solo and concertos - can attest, this is a supremely stylish fiddle-player, possessed of a powerful modern technique, but who's always ready to put it at the service of the music rather than imposing her personality on everything she plays. Maybe that's why Mullova has her undeserved ice-queen reputation; we're not used to hearing players of her provenance and prowess placing themselves quietly in the hands of the composer, without the emotional histrionics and interpretative licence taken by some of her peers.
Ok, so I'm already interested...but then you see that this is Mullova with the Orchestra of the Age of Enlightenment: period instruments. There's no conductor; she directs them herself...and she's strung her Strad with gut, and plays it with a classical bow.
Now I'm fascinated. But Mullova's going to be compared to the real specialists, the people who've made solo performance on period violins their life's work, your Standages and Huggets, and there are bound to be significant differences. The giveaways are usually found in the right hand; the 21st century violinist often finds it difficult to moderate the power and pressure that's been drilled into them for decades - they can sometimes sound really rough. Not Mullova; while she doesn't have the quicksilver sound and instinctive mastery of the classical bow, and perhaps not quite the full range of tone colours that gut strings can deliver in the hands of a seasoned period instrumentalist, she's fluent, warm, and surprisingly gentle.
Mullova's is one of the great techniques amongst modern players, and obviously that total security is as enjoyable in Mozart as Tchaikovsky or Shostakovich...perhaps even making too light of the cadenzas, newly written by Mullova and Ottavio Dantone. Maybe there's a touch more vibrato at times than you'd expect, especially in the slow movements, yet Mullova also revels in the sound of her gut-strung violin, employing open strings to good effect. The OAE is on top form, obviously enjoying this outing, with a superstar soloist meeting them on their own terms - the finales really dance, and there's an infectious enthusiasm about the whole disc that's refreshing.
Several big names are going back to gut at the moment, but of the violinists Viktoria Mullova's making the best job of it on this evidence. I'd cheerfully, nay, enthusiastically recommend this to her fan-base and anyone interested in period instrument performance. Word is, the next Mullova project is the Beethoven and Mendelssohn Concertos with John Eliot Gardiner. Bring it on... Andrew McGregor 2002-11-20
