专辑英文名: Bach - Suites for Solo Cello
专辑中文名: 巴赫 无伴奏大提琴组曲
艺术家: Vito Paternoster
资源格式: MP3
发行时间: 1998年
简介:
资源码率：128K
已屏蔽电驴2.0， mini驴 请下载完后保源，分享给更多的人。
专辑介绍：
六首大提琴组曲，BWV1007-1012。这也是巴赫科滕时期的作品，它的形成则非常统一，又因为插入舞曲不同很明显的分成三组，即1&2, 3&4, 5&6 三组。这样分法还有一种意义，每组刚好都包含了一首升调系和一首降调系作品（如果将 C大调看作升调系的话）。事实上这组作品亦可以分为两组: 123 和 456两组，这样刚好每组都是两首大调夹著一首小调的形式，每组开头的前奏曲（1&4）都有类似的型式（分散和弦的反覆），而每组结尾的吉格舞曲（3&6）均十分光辉灿烂，有著庞大架构。另外再看插入舞曲部份，第123 号插入舞曲第二段均有转调，但456号差入舞曲则不转调，如是又形成一种对称性。
六首无伴奏大提琴组曲的组成有统一型式:前奏曲；阿勒曼德舞曲；库朗舞曲；萨拉班德舞曲；<插入舞曲>；吉格舞曲。插入舞曲在一二号是小步舞曲, 三四号是布列舞曲，五六号是加沃特舞曲。如果以各舞曲速度来看，将前奏曲视为整首组曲的导引，它通常是中速或快速的，阿勒曼德舞曲中速或慢速，库朗舞曲快速，萨拉邦德舞曲慢速，插入舞曲和吉格舞曲皆为快速，如此便得到一个类似 快--慢--快--慢--快 的形式，再深入探讨各舞曲的个性，我们便更能理解这样安排的逻辑性。六首中第五号组曲扮演著一个颇突出角色，它的前奏曲为一首法国式序曲，库朗舞曲异于其它为 3/2拍，萨拉邦德舞曲全用单音演奏亦异于其它五首，本曲尚有鲁特琴版。为大提琴写作六首无伴奏组曲，可以说是史无前例的。可能是他要把无伴奏大提琴视为无伴奏小提琴的延伸吗，事实上这两首曲子的写作手法不尽相同，显然巴哈写作的态度不只是在写“音域低一点的小提琴”，可以推断巴哈当时即已预见大提琴作为独奏乐器的潜力，在第六号组曲中巴哈运用自创的五弦大提琴，他发觉这项乐器音域向上延伸的魅力。由近代大提琴曲充份利用大提琴高音域来看，巴哈在此发挥了他的远见。
演奏家简介：（只找到英语简介，本人英文水平有限，望高手翻译一下）
Vito Paternoster graduated from the conservatory of S. Cecilia when he was very young, under A. Baldovino's guidance. He won a competition for 1st violoncello at the Rai in Rome, and joined the prestigious ensemble I Musici.
He continues to perform with I Musici today, as well as performing as a soloist in the most important theatres of the world.
Paternoster has been widely recorded, both as a soloist and in emsembles.
His Sonatas and Partitas for violoncello by Bach, from an 18th century manuscript, is the world premiere recording of these pieces. His recording of the six Bach cello suites have been aclaimed by the international press.
He has directed the Symphony Orchestra of Bari, of Abruzzo, and the Symphony Orchestra Betica of Siviglia, the "B. Marcello" of Teramo. With the latter he directed the first modern performance of "Diana amante di Leo" in Brindisi.
Recently he directed "Il pane dal profano al sacro" (a musical route about the meaning of bread in the southern culture through the centuries), a program composed by him, with the Symphony Orchestra of Bari.
He founded the baroque orchestra "La Lyra di Anphione", which he directed in Spoleto, where he opened the Lyrical Season '99 of the Experimental Lyrical Theatre. Critics consider this production ("Dido and Aeneas" by H. Purcell) as a "delightful performance" and "the director was not on the platform but into music and singing, all the same with them" (Q. Principe).
He plays a violoncello manufactured by L. Carcassi (Florence 1792) and he is a conservatory teacher of violoncello at the conservatory of Bari.
