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SIDE 1:
Mozart: Concerto for violin & orchestra No. 4
01. Allegro
02. Andante cantabile
03. Rondeau: Andante grazioso – Allegro ma non troppo
SIDE 2:
Mozart: Concerto for violin & orchestra No. 5
01. Allegro aperto
02. Adagio
03. Rondeau: Tempo di Menuetto – Allegro |
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奧地利小提家Wolfgang Schneiderhan (施奈德漢) 指揮Berliner Philharmoniker (柏林愛樂)及演出
Mozart: Concerto for violin & orchestra No. 4 & 5 (莫札特小提琴協奏曲第四號及第五號)，從容大方，自然平和之風格，著是令人難忘。德國Clearaudio出品，180g 重量級黑膠，Made in Germany 。
The Concertos in D major, K. 218, and in A major, K. 219, like the three other Mozart Violin Concertos whose authenticity is undoubted, date from 1775. Mozart was then nineteen, and was leader of the Prince-Archbishop's Court Orchestra in his native Salzburg. The years spent at Salzburg prior to his journey to Mannheim and Paris (1777/79) may be described as the "galant" period of Mozart's life. The compositions of this time correspond to the concept of the serene Mozart, a "Raphael of music", the master who "did not represent the fermenting of the passions in his art, but completely overcame all that was impure and disturbing, to produce perfect beauty" (Jahn). Mozart's Violin Concertos could be described as a particular form of divertimento, and compared to the serenades which he wrote in Salzburg at about the same time. Agreeable and songlike elements form the melodic style. All thoughts of pain and grief seem to have been banished; the listener finds himself in an Arcadian landscape where grace and serenity reign supreme.
The Concertos K. 218 and K. 219 conclude the group. While conventional features are unmistaken-able in the first two Concertos (K. 207 and K. 211), in which Mozart employed certain stereotyped elements of the serenade style, the Concertos K. 216, K. 218, and in particular the A major Concerto K. 219, are incomparably individual in character. The opening of the A major Concerto is a good example of: the freedom with which Mozart handled the traditional for-mal pattern of a concerto: in this Allegro the orchestral exposition is immediately followed not by the solo violin's entry with the theme, but by an unexpected slow bridge passage, a recitative in which the solo violin, accompanied by arabesques of the other violins and delicate oboe and horn chords, prepares and "tries out" its theme. Only after this does the Concerto really begin: the orchestra plays almost exactly as it had at the opening, but the solo violin now overtops it with the principal theme.
The D major Concerto, K. 218, has an unusual history. It was believed that Mozart had based his composition on the Violin Concerto in D major of Luigi Boccherini, perhaps unconsciously, presenting the musical ideas of another composer, whose nature was akin to his, in a new musical context. Recently, however, the belief has been hardening that the Boccherini Violin Concerto is spurious - that this was not a case of Mozart imitating Boccherini, but that the alleged Bocdierini Concerto is apocryphal, having been based on Mozart's composition. |
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HI FI REVIEW (2011/10/1) Author:
劉志剛
WOLFGANG SCHNEIDERHAN
Clearaudio翻DG名盤的最新一件，是施耐德漢(Wolfgang Schneiderhan)「又拉又指」 的莫札特第四、第五小提琴協奏曲。
施耐德漢都算是個傳奇。在第一次大戰期間於維也納出生，卒於2002年。跟過Otakar Sevcik學過一段短時間(Sevcik教出了Jan Kubelik, Efrem Zimbalist和Erika Morini等)，施氏住英國時跟Chaliapin, Paul Robeson等巨星同台演出。後來回到維也納，十七歲就擔任維也納，交響樂團的樂隊首席；後來更出任維也納愛樂的concertmaster。戰爭時期參與過Richard Strauss六重奏發表前的排練及「私人」首演。
1951年，施氏離開維也納愛樂，也解散了自己的絃樂四重奏，旨在重新以獨奏家身份活躍樂壇。由於有DG支持。施氏灌錄了不少核心古典範疇的協奏曲與奏鳴曲，拍檔皆為一時俊彥。 蓋棺論定，施耐德漢的專精範疇是德奧經典一一莫札特、貝多芬、舒伯特，施耐德漢有鋪「作cadenza」的癮，他的莫札特協奏曲錄音是「最佳之一」，幾乎是公論了： exquisitely played, in Classical Viennese style。
這是怎樣一回事呢？琴音恬靜清爽，樸貿無華：輕輕鬆鬆的，沒有過度的表情。技巧乾淨，收音不留雜質，尾韻控制卻又很高明，頗堪回味！
從前聽CD(指舊版CD)，施耐德漢的音色有一份懷舊的「舊銀器」般的色澤。「大禾花」版CD(The Originals)讓音色鮮起來。這張Clearaudio LP居然更鮮美，令人以為這是相當近代的一個錄音呢！
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