Testament to the versatility and musical command that Teodor Currentzis and his unique orchestra and choir possess, this new album brings together two diverse masterworks from two titans of Russian music. Although they have been acquainted for a long time prior, this recording represents the first musical collaboration between Teodor Currentzis and the exceptional violinist Patricia Kopatchinskaja. The instant artistic rapport (an “artistic wedding” of sorts) between these two maverick musicians can be heard in this dynamic new recording of Tchaikovsky’s Violin concerto - one of the most popular works in the violin repertory. Currentzis’ authentic approach to the folk influences in Stravinsky’s music (as revealed in Le Sacre du Printemps) is again very present in his interpretation of Les Noces. This work for percussion, pianists, chorus, and vocal soloists - originally composed as ballet music - is probably one of Stravinsky’s most rarely recorded works. The work is based on a Russian peasant wedding, which the cover artwork references. Exceptional to this new recording is that the MusicAeterna choir members are all native-Russian speakers who bring another level of understanding and authenticity to the work. After her prominent participation in the “Rameau – The Sound of Light” recording, Nadine Koutcher – freshly crowned “2015 Cardiff Singer of the Year” - returns to sing the leading soprano solo part in Les Noces.

DAVID OISTRAHK
TCHAIKOVSKY: Violin Concerto
WIENIAWSKI: Etudes-Caprices
Nos. 2, 4, 5
SARASATE: Navarra op. 33
David Oistrach
Igor Oistr ach
Gewandhausorchester Leipzig
Staatskapelle Dresden
Franz Konwitschny
|A|D|D| 000289 477 8583 5 |G|B|
Int. Release 02 Oct. 2009

Entitled the “Pathétique”, Tchaikovsky’s Sixth Symphony has always been an important work in Teodor Currentzis’s conducting career, since being deeply affected as a teenager by a recording conducted by Evgeny Mravinsky. Later on, Currentzis would study with Mravinsky’s former classmate Ilya Musin, who was renowned for his authoritative interpretation of Russian repertoire and his legacy of gifted protégés.
Currentzis holds strong views on the symphony and sees universal meaning in Tchaikovsky’s intent. As he explains:
“There are people who, after experiencing a fall, after surviving defeat, find some kind of special place, a special sanctuary. Their place amid the confusion of this world. If they fall repeatedly, then this refuge gradually becomes more and more familiar: it regales them with the sensuality that is lacking in the world above. The first time one is stabbed with a knife, it hurts; the second time, it is borne more easily; the third time, in order that one may survive, it becomes a piece of art. There are no aesthetics when it comes to open wounds.
What I want to bring to this music is not the strong emotionality or the big sound or the excellent form. The thing that I want to bring is the ‘flower of the wound’, the perfection of 110 musicians gathering to have a ceremony for the wounds we endure, not to merely play a concert. It is completely different. Not taking it in objectively as a kind of performance of this music, but as something else. To talk about our wounds and our experiences. So this is very important.”

《柴科夫斯基：第1钢琴协奏曲》由肖邦钢琴比赛金奖得主博格列里奇演奏，阿尔多指挥伦敦交响乐团！《降b小调第一钢琴协奏曲》是柴科夫斯基的代表作之一。这部伟大的作品初稿后，柴科夫斯基曾将它题献给自己的老师钢琴家尼古拉.鲁宾斯坦，却被斥为一无是处的“垃圾”，性格怪僻、倔强的柴科夫斯基执意不做任何修改，双方一时反目成仇。

而经典终究会成为经典，时间证明了一切，而今，《降b小调第一钢琴协奏曲》已然是世界音乐海洋中的领航船，是同类体裁作品中最著名、最流行的伟大作品，因此也应是欣赏古典音乐的入门必选曲目。

01 Con For Pno And Orch No.1 In B-Flat Op.23：Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito
02 Con For Pno And Orch No.1 In B-Flat Op.23：Andante Semplice - Prestissimo - Tempo I
03 Con For Pno And Orch No.1 In B-Flat Op.23：Allegro Con Fuoco

试听：
Chopin:
-Barcarolle in F sharp major, Op. 60
Liszt:
-Erlkönig, S558 No. 4 (after Schubert D328)
-Fruhlingsglaube, S557c
-Die Forelle, S564
-Auf dem Wasser zu singen, S558 No. 2 (from Schubert D774)
-Die Stadt - Mässig Geschwindt (No. 1 from Schwanengesang, S560, after Schubert)
-Widmung S566 after Schumann (Liebeslied)
Tchaikovsky:
-Piano Concerto No. 1 in B flat minor, Op. 23 (with Mariinsky Orchestra, Valery Gergiev)
-Un poco di Chopin, Op. 72, No. 15

Mendelssohn: recorded 16 May 1945.
Bruch: recorded 12 Apr 1942.
Tchaikovsky: recorded 6 Mar 1940.

二十世纪的俄国﹐出现无数伟大的音乐家﹐而米尔斯坦正是风格独特的一位﹐一九零三年出生于敖德萨﹐从奥尔那里传承了伟大的传统﹐更难能可贵的是﹐米尔斯坦的演奏永远保持着高贵的气息。
各位想象一下﹐如果一位演奏家要演奏技巧非常困难﹐困难到会让手指打结的帕格尼尼「奇想曲」。但是按小提琴琴弦的左手﹐有一根受伤﹐只剩下四根手指头﹐那么要怎样才能够克服技巧﹐而且演奏的很完美呢？而我们知道，通常五支手指头都很完整的演奏家，都不见得能够表现的很好，那么这位演奏家要如何克服困难呢？而这位小提琴大师却为我们带来传奇的演奏。
只用左手四根手指头演奏出技巧繁复的「奇想曲」﹐这位大师是谁呢？他就是米尔斯坦。米尔斯坦的最后一场音乐会﹐时间是在一九八六年六月﹐当时米尔斯坦已经八十二岁﹐这么老的年纪﹐再加上手指头受伤﹐但是这位老大师却克服了所有的困难﹐为我们呈现了一场难得的音乐会。而且排出来的曲目﹐都是技巧相当困难﹐意境深远的曲目﹐像贝多芬的第九号小提琴奏鸣曲「克罗采」﹐就是每位杰出的小提琴家都想挑战的曲目﹐贝多芬曾形容过这首曲子﹐是以协奏曲风的形式谱写而成的﹐米尔斯坦在第二乐章「变化多端的行板」中，将繁琐的技巧化作简朴却意境悠远﹐大师晚年的丰采，在这样的音乐当中，展露无遗。
米尔斯坦是1903年出生于敖德萨﹐当时﹐正是俄国动荡不安的年代﹐曾经在伟大的小提琴教师奥尔底下学习﹐奥尔对他的影响很大﹐米尔斯坦在回忆录里曾提过﹐他问过奥尔应该怎么学习演奏小提琴﹐奥尔对他说：「要用头脑﹐而不是用手来演奏。」当时﹐米尔斯坦自己说他并不太了解这句话的意思﹐但是随着年岁增长﹐米尔斯坦对这句话的体会越来越深刻。在贝多芬小提琴奏鸣曲「克罗采」当中最后一个乐章「急板」﹐可以很清楚听到﹐米尔斯坦如何充分表现出奥尔的这句名言。
最后一场音乐会总带着一点悲伤的味道，但是俄国伟大的小提琴大师米尔斯坦的音乐会，我们感受到的，是一种温暖的演出，事前没有人知道，这会是米尔斯坦的最后一次演出，说不定，连他自己本人都没这么想，因为，谁都想为自己的最后一次，划下最完美的句点。但是前面我们提过﹐米尔斯坦在演奏这场音乐会之前﹐左手手指头受伤僵硬﹐原本他打算就此取消音乐会﹐但是还好在旁人的沟通协调下﹐音乐会照常举行﹐而且还透过电视转播﹐制作成录像带。这是米尔斯坦七十三年的演奏生涯﹐唯一一次有做过录像的记录﹐但是米尔斯坦却觉得这次的演出并不太好......因为﹐那是他对完美的要求！但是，比较以往他演奏的同一曲目，确实没像年轻时的凌厉，但是深刻的音乐性，仍旧令人久久难以忘怀。更何况﹐米尔斯坦这次演出的水平﹐仍然是许多演奏家望尘莫及的。
或许是因为手指受伤的关系﹐音乐会结束后没多久﹐米尔斯坦便宣布不再演出。不过﹐还好这场音乐会记录了米尔斯坦演奏生涯的精华﹐其中﹐包括米尔斯坦最重要﹑也最具代表性的巴哈无伴奏小提琴奏鸣曲与组曲﹐米尔斯坦的演奏﹐让我们见识到巴哈音乐的伟大﹐其中更以「夏康」舞曲为代表。
巴哈无伴奏小提琴一直以来就是小提琴演奏家永远的挑战！而米尔斯坦的出，却为我们带来了典范的演出，他的几次录音，一直有着非常高的评价。虽然八十二岁的米尔斯坦所演出的版本﹐比起他黄金时期灌录的无伴奏﹐这份录音显得有些吃力﹐尤其在演奏双弦或三弦时﹐音响有些模糊﹐这主要是因为当时他的左手手指头正受伤﹐但是话说回来﹐有些演奏家﹐即使给他多一倍的手指头﹐也不见得拉得出米尔斯坦八十二岁时的这个版本！而这之间的差别，就是所谓琴匠和艺术家之间的差别！
米尔斯坦的琴声十分独特，其贵族化的质感使听众充满敬畏，这种音质被描述如银铃一般，但由于50年代的录音技术所限，这种声音被表现得过于尖锐刺耳，对于听众来说太具穿透力。
基于这个原因,听众对米尔斯坦的演奏颇有微词，并有些人排斥他，其对音准的表现技巧和准确性被称为海菲兹后第二人，之所以这样是因为他牺牲了一点点声音的表现来抒发其情感。他对于琴弓的驾驭也对此有帮助，被称为「弓之王子」也不足为奇。
米尔斯坦对于揉弦表演不属于20世纪，只有上个世纪小提琴家约阿希姆那一代才有这种技法。通常米尔斯坦演奏时不使用过多的揉弦，他的方式是在高潮时用极高的频率扩展弦的震动，而平时的演奏则多使用滑奏。一般的小提琴手用琴来表现多愁善感，但米尔斯坦则用琴来显示崇高的思想，所以他也被称为「小提琴的贵族」。这种区别语言无法表达，只有听他的演奏才能感受到。

Work 1
Work Title: Concerto for Violin and Orchestra in D, Op. 35
Excerpt(s): 1. Allegro moderato
2. Canzonetta: Andante
3. Allegro vivacissimo
Composer: Pyotr Il'yich Tchaikovsky (1840 - 1893)
Genre: Orchestral
Date Written: 1878
Conductor: Eugene Ormandy
Orchestra / Ensemble: Philadelphia Orchestra
Main Performer: David Oistrakh (Violin)
Opera Part(s): David Oistrakh
Work 2
Work Title: Concerto for Violin and Orchestra in D minor, Op. 47
Excerpt(s): 1. Allegro moderato
2. Adagio di molto
3. Allegro ma non tanto
Composer: Jean (Julius Christian) Sibelius (1865 - 1957)
Genre: Orchestral
Date Written: 1903 Revised 1905
Conductor: Eugene Ormandy
Orchestra / Ensemble: Philadelphia Orchestra
Main Performer: David Oistrakh (Violin)
Opera Part(s): David Oistrakh

Penguin Guide rosette

柴可夫斯基&门德尔松小提琴协奏曲