Rachel Podger & Gary Cooper
Mozart – Complete Sonatas for Keyboard & Violin Vols. 7 & 8
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2009
Жанр: Classical/Chamber/Violin/Piano
Издатель (лейбл): Channel Classics Records
Продолжительность: 01:59:48
Наличие сканов в содержимом раздачи: Буклет PDFRachel Podger – violin
Gary Cooper – fortepiano/harpsichord
Alison McGillivray – celloКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.0, 2.0Источник (релизер): ManWhoCan (PS³SACD) https://www.channelclassics.com/catalogue/28109-Complete-Sonatas-for-Keyboard-and-Violin-vol-78/
Доп. информация
Instruments:
violin: Pesarinius 1739
harpsichord: Jacob Kirckman 1766
fortepiano: AntonWalter,Vienna 1795; copy by Derek Adlam 1987
Recording:
St. Martin’s Church, East Woodhay, Berkshire, UK (vol.7)
St. John the Evangelist Church, Upperwood, London, UK (vol.8)
Recording dates: April 2008 (vol. 7), Jan 2009 (vol. 8)
Digital Converters: Meitner DSD /AD/DA
Mastering Engineer: Jared Sacks
Mastering Equipment: B+W 803 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom made
Producer: Jonathan Attwood
Recording Engineer: Jared Sacks
Recording location: Upperwood London, England
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64
Speakers: Audiolab, Holland
Треклист:
01. Allegro in B flat major, KV 372 Mozart – 08:05
02. 6 Variations in G minor, ‘Hélas, j’ai perdu mon amant’, KV 374b Mozart 11:12
Sonata in E Flat major, KV 26 – 08:27
03. Allegro molto Mozart 02:49
04. Adagio poco Andante Mozart 02:53
05. Rondeaux Mozart 02:44
06. Fantasia in C minor for Piano, KV 396 Mozart 10:29
07. 12 Variations in G major, ‘La Bergère Célimène’, KV 374a Mozart 17:03
Sonata in B Flat Major, KV 10 – 13:58
08. Allegro Mozart 04:55
09. Andante Mozart 05:32
10. Menuetto I and II Mozart 03:30
Sonata in G Major, KV 11 – 10:09
11. Andante Mozart 03:58
12. Allegro Mozart 02:14
13. Menuetto – Allegro Mozart 03:56
Sonata in A Major, KV 12 -06:38
14. Andante Mozart 04:16
15. Allegro Mozart 02:21
Sonata in F Major, KV 13 – 13:47
16. Allegro Mozart 05:13
17. Andante Mozart 06:05
18. Menuetto I & II Mozart 02:28
Sonata in C Major, KV 14 – 10:38
19. Allegro Mozart 04:41
20. Allegro Mozart 02:52
21. Menuetto I & II ‘Carillon’ Mozart 03:05
Sonata in B Flat Major, KV 15 – 09:43
22. Andante maestoso Mozart 06:59
23. Allegro grazioso Mozart 02:44
Об альбоме (сборнике)
A Producer’s Note Before embarking upon these recordings of Mozart’s complete duo music for piano and violin, my experience of many of these works was as a typical post-war listener. That is to say, these were sonatas for violin and these should be performed only one at a time, usually as a good way to limber up the bowing arm and lubricate the fingers before the serious recital ‘material’ began. The journey of a producer in such a project – apart from all the generic responsibilities of supervising the sessions, ensuring all the music is covered and choosing the ‘takes’ which constitute the final product – involves regularly questioning the underlying motivation for wanting to communicate these pieces in a certain way. Both Gary Cooper and Rachel Podger have discovered a particular essence in this music, which has illuminated our understanding of the genre in Mozart’s hands. For this reason, this is a radical series. For some, it may lack a tradition of the kind of structured and cultured elan which Szymon Goldberg and Radu Lupu perpetuated (produced by that wonderful Decca doyen of the dark art, Christopher Raeburn) but for others it will lift the dialogue and characterisation onto new and irradiating levels. Of course, each volume has its own narrative and how brilliantly Gary has managed to programme early (some very early!), middle and late sonatas in ways which allow one to understand Mozart’s various ploys and distinctive ambitions in this music. In an ideally balanced oeuvre, one wishes there were another three big mid-to-late works. Yet what this series has done is highlight the care Mozart took in the refinement of sonatas or variations ‘to order’- a touching insight into awareness of capability, perhaps individual characters of performers, and that delectable turn of domestic tenderness which these pieces often exhibit. These two players bring these intimacies to bear wonderfully and, as producer, I had great fun working with them to find the shifting moods in music whose unpretentiousness belies the supreme quality of most of these works. Indeed, some of the sonata are far greater than I had imagined. If the piano sonatas (well, say the last ten) draw upon microcosms of allusion and reference to fellow instruments and their idioms (serenades and the like), then these ‘high end’ piano-violin sonatas take trips which almost exceed their bounds – think of those great long adagios. So, my lasting impression, having dissected every note of the music, is of a cornucopia of hidden gems; hidden because history has under-rated, misunderstood and bowdlerized the collective meaning of these works by assuming that it is an uneven genre – but then so are the symphonies and even the operas! Finally, one asks why there hasn’t previously been a complete recording on historical instruments. From my ‘privileged’ position as listener-in-chief, I can tell you it is because no pair can make such transparent and difficult music sound so effortless, elegant, witty, emotionally persuasive and enjoyable.
Gramophone.co.uk review:
This issue completes Cooper’s and Podger’s collected recordings of Mozart’s music for keyboard and violin. At first sight, Volumes 7 and 8 might seem to consist of leftovers – Vol 8 devoted to a set of six sonatas (K10-15) written in London when Mozart was eight, and Vol 7, apart from the two variation sets composed shortly after he settled in Vienna, containing a sonata dating from his 1766 stay in The Hague, plus two fragments, completed after Mozart’s death by Maximilian Stadler. In the event, however, both CDs are full of interest.
For the “London” Sonatas, Cooper plays a fine-sounding Kirckman harpsichord dating from the exact period of Mozart’s English visit. With it he can make the most of the youthful virtuoso’s ebullient keyboard invention, the textures further enriched by the inclusion of the optional cello part. One may have some doubts about the complete authenticity of Mozart’s early sonatas (surviving manuscripts are in father Leopold’s hand), but in K13, for example, the startlingly elaborate opening movement, the plaintive minor-key Andante that follows and the extraordinary chromatic minuet all indicate an amazing emerging talent.
On the other disc, the K372 Allegro is given pride of place. Mozart left a sonata exposition that would have been the beginning of a magnificent work. If Stadler’s completion lacks a Mozartian sense of tonal architecture, its sound world is extremely convincing and provides a necessary context for the “genuine” music. Stadler completed K396 as a solo piano piece (the 27-bar fragment has only four bars of violin part). The result, in Cooper’s words, is “a most personal tribute”, and played here with much feeling and imagination.
Cooper and Podger perform the variations with typical verve; the many repeated sections provide opportunities for ornamentation, especially in K359, where Mozart obligingly indicates a pause – with the possibility of a mini cadenza – in each variation.
I find I don’t always agree with Cooper’s and Podger’s interpretation – exaggerated drawing-out of many of the minuets’ cadences, for instance – but it’s impossible to ignore the individuality, vitality and commitment of their performances.
/1 
发表于 2020-12-8 14:56:26
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