[SACD-R] [OF] J.S.巴赫 - 六个勃兰登堡协奏曲 - 古代音乐学院，Richard Egarr - 2008/2009（古典）

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J.S. Bach - The Six Brandenburg Concertos
Academy Of Ancient Music / Richard Egarr
Жанр: Classical
Год записи материала: 2008
Год выпуска диска: 2009
Производитель диска: Europe - Harmonia Mundi - HMU 807461.62
Аудио кодек: DST 2.0, 5.0
Тип рипа: image (ISO)
Битрейт аудио: 2,8224 MHz
Продолжительность: 43:53 + 52:03
Треклист:
Brandenburg Concertos 1-3 (Disc 1)
1. Concerto No. 1 in F Major - (Allegro)
2. Concerto No. 1 in F Major - Adagio
3. Concerto No. 1 in F Major - Allegro
4. Concerto No. 1 in F Major - Menuet-Trio-Menuet-Poloinesse-Menuet-Trio-Menuet
5. Concerto No. 2 in F Major - (Allegro)
6. Concerto No. 2 in F Major - Adante
7. Concerto No. 2 in F Major - Allegro assai
8. Concerto No. 3 in G Major - (Allegro)-Adagio
9. Concerto No. 3 in G Major - Allegro
Brandenburg Concertos 4-6 (Disc 2)
1. Concerto No. 4 in G Major - Allegro
2. Concerto No. 4 in G Major - Andante
3. Concerto No. 4 in G Major - Presto
4. Concerto No. 5 in D Major - Allegro
5. Concerto No. 5 in D Major - Affeituoso
6. Concerto No. 5 in D Major - Allegro
7. Concerto No. 6 in B-flat Major
8. Concerto No. 6 in B-flat Major - Adagio ma non tanto
9. Concerto No. 6 in B-flat Major - Allegro
Описание:
There's no shortage of mainstream orchestral versions of J.S. Bach's Brandenburg Concertos, but period ensembles usually play them as works for chamber orchestra, with their string sections pared down. In Richard Egarr's historically informed performances with the Academy of Ancient Music, the strings are limited to single instruments per part, much as Bach likely expected and probably got, if these concertos were actually played in his day. Listeners accustomed to big-sounding performances with the lush strings of large-scale modern orchestras may cringe when hearing the extremely lean textures in these 2008 recordings, but authentic interpretations really do demand reduced forces, and most of the time there is no problem if the conductor finds the right balance. However, the scanty strings heard here are often drowned out by the robust woodwinds and brass instruments in the Brandenburg Concertos No. 1 and No. 2, and even the fully realized continuo part of harpsichord and cello is audibly thicker than the wiry tone produced by the solo strings. Beyond this, shrinking the ensemble to a skeleton crew seems to subvert the basic idea of the concerto grosso -- of which the Brandenburgs are important examples -- which pits the concertino (a small group of soloists) against the ripieno (the full ensemble); this becomes a moot point where there is minimal difference between the groups. In terms of sound, the performances have a nice luster, thanks to expert playing on authentic instruments and responsive acoustics, and the winds are exceptionally clear and vibrant. But because the strings have been thinned so drastically, these Brandenburgs will likely be of interest only to Egarr's and the Academy's devoted fans.
Blair Sanderson
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