016
本帖最后由 yah 于 2016-8-9 22:14 编辑G.C.瓦根塞尔2首
G.C.瓦根塞尔简介：
https://en.wikipedia.org/wiki/Georg_Christoph_Wagenseil
奥地利作曲家，约翰·富克斯最喜欢的学生，并继任他成为维也纳宫廷作曲家。瓦根塞尔的作品是早期古典主义风格的典范，对海顿和莫扎特都有一定影响，为维也纳古典乐派的辉煌成就打下了基础。
有关瓦根塞尔的一则轶事是，1762年，年仅六岁的莫扎特来到宫中献艺，他向皇帝问道："Ist Herr Wagenseil nicht hier? Der versteht."（“瓦根塞尔先生在不在？他会理解的。”）当瓦根塞尔来到他面前时，这位小神童又说："Ich spiele ein Concert von Ihnen, Sie müssen mir umwenden."（“我来演奏一首您作的协奏曲，请您为我翻谱好吗？”）
转自网络，感谢作者。
017
本帖最后由 yah 于 2016-8-9 21:15 编辑达德6首
Antoine Dard (1715–84) served as oboist and bassoonist at the French royal court from 1773 . It is therefore no surprise that these six sonatas for bassoon or cello and basso continuo were conceived more in terms of the wind than the stringed instrument.
Dard’s highly personal approach combines the expressive, the courtly and the unpredictable with flowing written-out embellished passages of finely etched detail. His predominantly lyrical style exploits the upper registers of the instrument to an extent unusual for the period, and his prefatory note stresses the importance of performing his sonatas with ‘lightness and feeling’. Kristin von der Goltz, a pupil of William Pleeth, does just that, demonstrating also her technical assurance, musical intelligence and strong sense of line.
This is responsive and spirited music making, pregnant with expressive detail. Highlights for me include Goltz’s neat, yet extensive ornamentation in the first movements of sonatas nos.1, 5 and 6; her responses to the challenging passagework in the lively central Allegro of no.1 and the Allegro ma non troppo of no.3; her emotionally charged Adagio of no.3; her pleasant mix of lyricism and articulated commentary in the Ciciliano andante of no.4; and her jauntiness in the finales of nos.2 and 5.
Goltz has an excellent rapport with her partners. However, their collective efforts are smothered in a soupy, reverberant acoustic to which harpsichordist Christine Schornsheim adds rather too much thickening. Regrettably, the detail of Goltz’s warm, mellifluous cello sound is occasionally obscured, particularly towards the bottom of its range.
以上转自：
http://www.thestrad.com/cpt-reviews/dard-six-sonatas-for-cello-and-continuo-1759/
达德简介：
https://de.wikipedia.org/wiki/Antoine_Dard
018
本帖最后由 yah 于 2016-8-9 21:15 编辑蒙恩1首
蒙恩，奥地利管风琴家、作曲家，早期维也纳乐派代表人物，作有交响曲、协奏曲和室内乐等。王健拉的这首是G小调，还有1首D大调，是勋伯格由羽管键琴协奏曲改编而来的。
另外，王健这张巴洛克专辑还有库普兰的《皇家合奏曲》。
这首所谓库普兰为大提琴所作的，并非真正的大提琴重奏曲，而是一位法国大提琴家根据库普兰的皇家合奏曲中的5段音乐改编而成。此后，该改编曲成为巴洛克时期最重要的大提琴作品之一。
卡萨尔斯把它作为自己最珍爱的保留曲目，1961年造访白宫时，就演奏了这部作品。
019
本帖最后由 yah 于 2016-8-9 21:19 编辑加斯6首
加斯，英国作曲家。曾经是教堂的管风琴师，同时也演奏大提琴，他为自己的音乐会写了6首大提琴协奏曲，最有名的作品是赞美诗。这些大协虽然创作于巴洛克向古典转型时期，但相对保守的英国人还没有完全采用奏鸣曲式，而是用了简单的二部曲式(第1乐章)。
加斯简介：
https://en.wikipedia.org/wiki/John_Garth_(composer)
下面这张HYPERION收有加斯的第2大协，降B大调。
我第一次听到蒙恩，是这张SACD，（我买的是华纳再版）
20
本帖最后由 yah 于 2016-8-9 22:35 编辑格拉夫2首
阿贝尔1首
同为1723年生人的2位作曲家，大协的风格相差较大。
格拉夫简介：
https://en.wikipedia.org/wiki/Christian_Ernst_Graf
阿贝尔简介：
https://en.wikipedia.org/wiki/Carl_Friedrich_Abel
monn
和谐花园 发表于 2016-8-2 19:55
monn
CPO的这张蒙恩协奏曲，收了4首，本真风格。
021
本帖最后由 yah 于 2016-8-9 21:20 编辑阿温丹纽6首
阿温丹纽的资料，遍寻不着，约1800年去世。
这2张CD，收有他的4首大提琴奏鸣曲和2首2把大提琴二重奏。
022
本帖最后由 yah 于 2016-8-9 21:21 编辑海顿 2首
海顿的2首大协曲调流畅，结构明晰，录音很多。
023
本帖最后由 yah 于 2016-8-9 21:22 编辑帕克斯顿5首
帕克斯顿既是大提琴家，也是作曲家。这张CD，收录了他的4首奏鸣曲+1首协奏曲。
帕克斯顿简介：
https://en.wikipedia.org/wiki/Stephen_Paxton
It is sometimes hard to believe that, in this day and age, discoveries of new works and even forgotten composers continue to be made. This album on the Cello Classics label proves that there are still works out there yet to be found, and that some of them are well worth discovery. Cellist Sebastian Comberti, along with the unlikely assistance of novelist Imogen Robertson, has unearthed four sonatas and a concerto by eighteenth century composer and cellist Stephen Paxton. While Paxton was a well-respected musician during his time, his overall impact was rather negligible and so much of his work and even his name has been long since forgotten. These sonatas, however, are real gems for cellists. They are not profoundly difficult, technical works that seek to demonstrate Paxton's own prowess on the instrument; rather, they are charming examples of the popular sonata form in London at the time. Realized here with a second cello and harpsichord, Comberti breathes new life into these forgotten works with stunning elegance and refinement in his playing, a warm sensitivity in the slow movements, and a graceful, joyous vivaciousness in the outer movements. The album ends with the premiere recording of the Concerto in G. Comberti is joined by the Pantheon Band; here, however, the accompaniment is far from the refinement and precision heard in the sonatas. The Pantheon Band has difficulties with intonation throughout and balance is not always ideal, making this part of the album sound extremely amateurish. Still, listeners will relish in the quality of the new repertoire and the brilliant performance of the four sonatas.
以上转自：
http://www.allmusic.com/album/stephen-paxton-4-sonatas-and-a-concerto-mw0001868228
跟几张古乐版海顿大协。
https://images-na.ssl-images-amazon.com/images/I/61IdpHHrHGL.jpg
https://images-eu.ssl-images-amazon.com/images/I/51modev4SeL._SS500_SS280.jpg
https://images-eu.ssl-images-amazon.com/images/I/51Hk2HalipL._SS500_SS280.jpg
https://images-eu.ssl-images-amazon.com/images/I/51DKFcUqlvL._SS500_SS280.jpg
matrim 发表于 2016-8-4 18:46
跟几张古乐版海顿大协。
第1张，搭了交响协奏曲，但有些冲；第2张，搭的蒙恩；第3张，就俩；第4张，没听过。
海顿第1大协的慢乐章，俺爱听几个女士的，再跟俩美女：
024
本帖最后由 yah 于 2017-1-6 20:10 编辑J.C.巴赫1首
J.C.巴赫这首大协的末乐章，短小精悍，精神抖擞。
另外提一下，J.C.巴赫的近20首交响协奏曲中（CPO录有6张的全集），三分之二有大提琴与其他乐器共同作为主奏乐器，可过大提琴之瘾。
matrim 发表于 25 分钟前
听感真是因人而异啊。铃木秀美没觉得冲，还觉得有点平淡呢，尤其是第一首。Bylsma那张绝佳。
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俺是说搭的那首交响协奏曲，比较冲，不优雅。
