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Simone Dinnerstein -《莫札特在哈瓦那》(Mozart in Havana)[FLAC]
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添加日期 2017/9/12 10:28:03
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Simone.Dinnerstein.-.[Mozart.in.Havana].专辑.(Flac).rar 1.01 GB
1.01 GB
专辑英文名: Mozart in Havana
专辑中文名: 莫札特在哈瓦那
艺术家: Simone Dinnerstein
古典类型: 全集作品
资源格式: FLAC
发行时间: 2017年04月21日
地区: 美国
语言: 英语

西蒙‧黛娜史坦Simone Dinnerstein (钢琴)
帕德隆José Antonio Méndez Padrón (指挥)
哈瓦那学院管弦乐团The Havana Lyceum Orchestra
● 钢琴家黛娜史坦2017年最新作品。
● 邀请古巴青年管弦乐团─哈瓦那学院管弦乐团共同合作。
● 专辑收录曲目莫札特第二十一号协奏曲,以当代作曲家菲利普拉瑟改自布梭尼所写的装饰奏为版本。
美国钢琴家黛娜史坦於二零零七年自费灌录巴哈郭德堡变奏曲而一战成名,这份出色的录音让她站上了明星级国际钢琴家的舞台,也走出了截然不同的音乐家成名之路。二零一零年投入索尼以来,黛娜史坦所灌录的专辑每每登上畅销排行榜冠军宝座,其中与当代作曲家菲利普拉瑟(Philip Lasser)合作,以巴哈为灵感作为创作的题材,皆是黛娜史坦专辑中不可或缺的元素。本辑《莫札特在哈瓦那》中,莫札特第二十一号协奏曲的装饰奏黛娜史坦也同样採用了拉瑟改自布梭尼所写的装饰奏版本。
这张专辑另一个特色是黛娜史坦找来了古巴的青年管弦乐团哈瓦那学院管弦乐团合作。古巴和美国自一九六零年代甘迺迪总统时代的猪湾飞弹对峙事件后,有半世纪未曾有过接触,许多古巴难民在这五十年间逃往美国,定居佛罗里达,美国虽然可以听到许多古巴音乐,但事实上两国在外交上仍是敌对国。直到欧巴马总统卸任前,因为已知古巴强人总统卡斯楚健康不佳已经交棒,於是访问古巴打开两国外交,这才让美古之间的交流活络。黛娜史坦在二零一五年时也曾访问古巴与哈瓦那学院管弦乐团合作,但这份录音却是第一次有美国钢琴家和古巴乐手的正式合作。透过这份录音,黛娜史坦想要唤起世人对古巴音乐发展的关注,像哈瓦那学院乐团,因为缺乏经费,连像样正规的乐器都没有,但古巴哈瓦那音乐院的学生、毕业生和教授仍拥有非常高的演奏水準,这也是为什么黛娜史坦在二零一五年和她们第一次合作时,就相当惊豔於他们的演出水準,而决定在这份录音中特别前往古巴与他们合作。而此举也是黛娜史坦对她在曼哈顿音乐院第一位老师的Solomo Mikowsky的感恩之作,因为Mikowsky是古巴的波兰裔犹太人,他在古巴创办了「青年钢琴家交流」(Encuentro de Jóvenese Pianistas)音乐节,这开啟了黛娜史坦与古巴的接触,也让黛娜史坦有心为古巴音乐教育作一些事,以表示她对老师的感激之心。
莫札特在哈瓦那 / 西蒙‧黛娜史坦 (CD)
Mozart in Havana / Simone Dinnerstein
张数:1 张 - 1CD
美国钢琴家西蒙黛娜史坦 (Simone Dinnerstein) 携手古巴知名交响乐团,共同演绎莫扎特的两首钢琴协奏曲。表演风格自由奔放的黛娜史坦,在古典基调上,透过演奏上的巧思安排使乐曲更添新意,而此次两国音乐家跨越不同文化的默契合作,也让原本就轻快的莫扎特音乐听来更是活泼生动。

Recorded in Cuba, acclaimed pianist Simone Dinnerstein s new album, Mozart in Havana, may be her most ambitious to date and is a testament to the ability of music to cross all cultural and language barriers.
Dinnerstein collaborated with the virtuosic Havana Lyceum Orchestra to perform . Mozart in Havana is a return to Dinnerstein s origins as a musician. Her connection with Cuba started early with Solomon Mikowsky, a Cuban émigré who became her piano teacher when she was all of nine years old. Mikowsky would tell stories of his childhood in Cuba and the country s many musical influences. When he inaugurated the Encuentro de Jóvenes Pianistas (Meeting of Young Pianists) festival in Havana in 2013, he invited Dinnerstein to play, which she accepted without hesitation. Returning to the festival in 2015, she played for the first time with the Havana Lyceum Orchestra and was deeply impressed. Within a year she had returned to Havana to record Mozart s Piano Concerto Nos. 21 and 23, or what would become Mozart in Havana. The recording was done over three long, sleepless nights using donated strings and recording equipment brought in by Grammy® winning producer Adam Abeshouse.
Conductor: Various
Composer: Mozart
Audio CD (April 21, 2017)
Number of Discs: 1
Label: Sony Classical
Run Time: 56 minutes
Average Customer Review: 4.9 out of 5 stars
Simone Dinnerstein/Havana Lyceum Orchestra - Mozart in Havana (Sony)
Mozart: Piano Concertos No. 21 & 23
What if Mozart went to Havana?
Simone Dinnerstein decided to find out. "I think that Mozart seemed like a person who liked to have fun and liked musical puns and camaraderie," Dinnerstein says. "His music is so full of joy and life force, and that is something that is really true of Cuban musicians."
Simone Dinnerstein made her first trip to Cuba at the invitation of Solomon Mikowsky. "He is a Cuban pianist, a piano teacher who I studied with from when I was nine until I graduated high school," Dinnerstein says. "And in 2013, he created this piano festival and invited me down. And that's how I first met the Havana Lyceum Orchestra."
You returned in 2015 to perform with the orchestra. What made you want to return to also make this recording, Mozart in Havana? "After that first experience I definitely wanted to go back. And Solomon invited me to go play the Mozart concerto with the orchestra. And I thought, you know, that sounded great. I didn't know … I didn't know what their orchestra was going to be like. And I got there and I heard them rehearsing a Mozart overture, and they were just amazing. I mean, the sound was just fantastic and so beautiful. They have a collective sound. So, it was really inspiring, and very exciting to play with them."
I was curious why Mozart was the chosen repertoire. As you mentioned, Solomon invited you to come to Havana to play a Mozart concerto. Why was Mozart the composer that brought you together?
"This Havana Lyceum Orchestra is affiliated with the Salzburg Mozarteum. And so they have a tradition of studying Mozart and playing Mozart, and they've gone to Salzburg and worked with the musicians there. And those musicians have also come to Havana. So that was one reason, of course, and the other reason was that … I mean, that concerto just happened to be the one that Solomon asked me to play, the A major, 488, when I went over there. But they played it so incredibly well that that's what I wanted to record. I wanted to record Mozart with them, and I've wanted to record these two concertos for quite some time, and they just were a perfect collaborator on it."
Is there a moment in these concertos that was especially meaningful for you that I could highlight for listeners, a little story behind one of the movements?
Simone Dinnerstein
Simone Dinnerstein Lisa-Marie Mazzucco
"We were talking about the woodwinds earlier, and there are some really beautiful exchanges with them. Like the end of the slow movement of the C major. There's a beautiful duet with the oboe and the piano. I would say like in the last minute of the of the movement. And I've always felt … whenever I've performed this piece, you know, I always try to connect visually with the with the oboist and in general with the wind players … Sometimes it can be hard to see them because they're sitting far back. But we were set up so that I could see everyone very well … the wind players really wanted to connect with me, and in fact, sometimes they'd ask me to play for them so they could hear how I was playing it so that they would make sure to be playing it in the same way. And I just felt that that came together so beautifully at the end. I felt like we were really talking to each other, first the oboe and myself and then the flute joins in as well. And it just it was true chamber music."
What did you learn about yourself from this experience?
"That's a good question. I think that for me it was extremely inspiring to work with the players there and the conductor. And I had had a very strong vision of how I wanted these pieces to sound. And I guess I learned that with enough practicing and enough rehearsing, that can actually happen. Like it's possible for an orchestra and a pianist and a conductor to all work together to create a sort of unified depiction of a piece of music. I think that that's something that I always hoped to do and I felt like that really happened with this recording."
To hear my full conversation with Simone Dinnerstein, and more about Mozart in Havana, look for New Classical Tracks on iTunes or wherever you get your podcasts.

Wolfgang Amadeus Mozart & Ferruccio Busoni & Philip Lasser : Piano Concerto No. 21 in C Major, K. 467
1. I. Allegro maestoso
2. II. Andante
3. III. Allegro vivace assai
Wolfgang Amadeus Mozart : Piano Concerto No. 23 in A Major, K. 488
4. I. Allegro
5. II. Adagio
6. III. Allegro assai