Cho những người yêu NCĐ (V2f)

Mình ghi rất đầy đủ thông tin của từng track ở trong tag, tất cả các đĩa Richter thu cho Olympia trừ 2 đĩa cuối chơi cùng Kagan đều là live recording thu năm 1979 (riêng hai đĩa cuối không thấy ghi ngày thu âm). Đĩa của EMI mình cũng ghi các năm record (cả ngày tháng) ở trong tag, bạn xem lại sẽ rõ.

Dung lượng của host sắp đạt đến giới hạn 20GB.Sẽ tạm dừng quyền Upload của Apo lại để có thời gian xóa dọn dẹp host.Trong thời gian tới sẽ xóa đi khoảng 30-50 Album cũ để lấy chỗ cho các Album mới.Sẽ cấp lại quyền cho Apo trong khoảng 1 tuần nữa.
Được kankuli sửa chữa / chuyển vào 08:30 ngày 02/06/2005

Để dành sẵn vài album rồi nên có cấm vẫn post như thường
The substantial changes of expression during the long and complex period that lasted from the closing years of the 16th century right through the period of Romanticism were clearly evident in the uses to which music was put as well.
In the Baroque, instruments had usually been interchangeable but composers of Classical, and still more Romantic music laid down with increasing precision what instruments their works were to be performed by. At the same time, however, the longstanding tra***ion of writing transcriptions survived, but it came to serve different, and in fact opposite purposes. Baroque transcriptions were clearly designed to serve practical needs connected with the material itself, but later it was a search for better ways to express emotions and win the approval of the widest possible audience that motivated an extensive repertoire of paraphrases, variations and arrangements of popular works. These became so profuse that they often overshadowed the originals. A highly typical example is the near symbiosis that developed between the flute and the violin, which came to share their repertoires in all periods, from Leclair to Schubert, Franck to Prokofiev and Vivaldi to Khachaturian. A natural and consistent parallel development took plan in the instruments. Both found their greatest masters in the 19th century, in Paganini, Briccialdi and Bohm. But this was also the period in which the typical differences in scope offered by the two instruments achieved prominence, making all attempts to imitate one on the other far too complicated. The tremendous boost which Paganini''s playing gave to composers for the violin, and to the concept of virtuosity as such, found the flute at a juncture when it was undergoing profound structural changes in mechanics, sound and melodic nature.
The majority of the new advances in flute technique found proper expression only in the early 20th century, through avant-garde compositions.
Once the technical innovations and the pur-posefulness of expression had been achieved, flautists turned their attention to the works of the Romantics and this led to the transcriptions of the most famous violin concertos of Paganini and Mendelssohn.
Felix Mendelssohn Bartholdy
Violin concerto in E minor, Op. 64
The work is dedicated to a close friend of Mendelssohn''s the violinist Ferdinand David, to whom Nicolo Paganini also dedicated his virtuoso Moto perpetuo. The Violin Concerto is a late work, which he composed between 1838 and 1844. Its melodic and rhythmic inventiveness and its musical form (which departs from the Classical concerto tra***ions by assigning the opening theme to the soloist) immediately gave it the status of a masterpiece. The great success of the work and the major role given to the solo flute in the orchestration led one anonymous flautist to request a transcription of the violin part from Mendelssohn. Mendelssohn accepted the commission, but only for the third movement, and with an expressly subdued, piano accompaniment. This version, unfortunately, has been lost, and a flute version of the concerto,
by the flautist Wilhelm Popp (1828-1903), was only published several years after the composer''s death. More recently there have been several other versions, performed by Andras Adorjan, Jean-Pierre Rampal and Janos Balint, and these succeed in transmitting the atmosphere of this concerto with all its emotional tensions. Balint''s transcription, which makes use of circular breathing, employs thoroughly up-to-date playing techniques.
Violin Concerto in D minor (A 822)
This work, e***ed by Yehudi Menuhin and first published in 1952, shows how Mendelssohn the composer grew to maturity. He composed it in 1822, when he was 13, and it clearly displays the genius of the boy who had given his first performance at the age of nine and who was twelve when he met Goethe, on whom he left a deep impression. But he was still to go to Paris, where he would study under Cherubini and meet Rossini and Meyerbeer. The melodic invention, modulations, and intensive and fluent expression are all the more enchanting and surprising for all that. Janos Balint''s, the first transcription of the work, draws on the tra***ion of polymorphic scoring which had allowed a range of instrumental choice in early periods.
Nicolo Paganini
Violin Concerto in B flat minor, "La campanel-la", third movement
"La campanella", a concerto in B flat minor symptomatic of the purest vocal spirit of bel canto inspired by Rossini, made an outstanding impression in Paganini''s day. It has
enchanted both the general public and a whole range of composers, from the Romantics to the Moderns, who have drawn inspiration from the daring of the piece. Chopin, Liszt, Schumann, Brahms, Beyer, Busoni, Kreisler and Kochanski were all influenced by this capricious, bizarre, tight-rope-walking bravura. The full transcription of the Violin concerto in B flat minor, by Janos Balint and Gian-Luca Petrucci, is the very first flute version of a Paganini work with orchestral accompaniment.
Gian-Luca Petrucci
Janos Balint was born in 1961 Hungary. In 1984 he graduated from the flute department of the Liszt Ferenc Academy of Music in Budapest. Between 1981 and 1991 he played the first flute of the Hungarian Radio and Television Symphony Orchestra (Budapest Symphony Orchestra). In 1984, be won the first prize at the international competition in Ancona. He won the scholarship of the Cziffra Foundation in 1986. He has given concerts as a soloist and a chamber musician in practically all the countries of Europe with such partners as Ruggiero Ricci, Gervase de Peyer, Gyorgy Cziffra, Tamas Vasary and Pierre Pierlot. He broadcast on radio and television several times. He has been a guest professor at the Ottorino Respighi Music Academy in Rome since 1987, and regularly gives mastercourses in Assisi, Rome, Reggio Calabria and Perugia. At present, he is a teacher at the Conservatory in Szeged (Hungary).
01. Concerto for Violin and Orchestra No.2 in e minor Op.64 1.Allegro molto appasionato
02. Concerto for Violin and Orchestra No.2 in e minor Op.64 2.Andante
03. Concerto for Violin and Orchestra No.2 in e minor Op.64 3.Allegretto non troppo-Allegro molto vivace
04. Concerto for Violin and Orchestra No. 1 in D minor - 1.Allegro molto
05. Concerto for Violin and Orchestra No. 1 in D minor - 2.Andante
06. Concerto for Violin and Orchestra No. 1 in D minor - 3.Allegro
07. La campanella - Rondo a la clochette

Anh Apomethe, track 4 và 5 của album trên bị lỗi, anh xem lại xem.
tks anh.

Hôm nay nghe lai cái đĩa Well tempered clavier do Glenn Gould chơi cach đây hơn 30 năm thấy sao thoải mái quá!! Công nhận hay thiệt!! Chơi Bach thì phải như vậy!!
Amopothe hay Kankuli ui có đĩa Goldberg Variations do Glenn chơi năm 1982 ko? Mình chỉ có bộ 1955 thôi, âm thanh ko mấy xuất sắc, mình chưa nghe bản sau nhưng nghe nói ca tụng nhiều lắm!!
Cám ơn nhé!

Album nào bị lỗi nhỉ, đã check lại hết rồi mà. 1 tuần ít quá, mình xin nghỉ cả tháng luôn vì bây giờ bận lắm.

Track 4, 5 của album Janos Balint-Violin Concertos by Mendelssohn on flute anh ạ.
links
http://www.classicalvn.org/haihap/-Janos%20Balint-Violin%20Concertos%20by%20Mendelssohn%20on%20flute/04.%20Concerto%20for%20Violin%20and%20Orchestra%20No.%201%20in%20D%20minor%20-%201.Allegro%20molto.wma

1.Piano Concerto No. 3 in C Major, Op. 26: I. Andante - Allegro2.Piano Concerto No. 3 in C Major, Op. 26: II. Tema con variazione3.Piano Concerto No. 3 in C Major, Op. 26: III. Allegro ma non troppo4.Piano Concerto in G Major: I. Allegramente5.Piano Concerto in G Major: II. Adagio assai6.Piano Concerto in G Major: III. Presto

Gould chơi bài này 2 version thôi, 1 lần năm 1955 , 1 lần năm 1981, chứ không có chơi nam 1982 đâu bác ơi

hì..ở amazon có bộ 3 CD Goldberg Variation : CD 1 bản 55, Cd 2 bản 81, CD 3 nói chuyện linh tinh
http://www.amazon.com/exec/obidos/tg/detail/-/B00006FI7C/qid=1117777701/sr=8-1/ref=pd_csp_1/002-4684077-6555267?v=glance&s=classical&n=507846
Ngoài ra còn có đĩa Gould chơi French suite, english suite, Toccata Vol 2. French suite, với English thì Kan có post,nhưng bằng nhạc cụ khác , còn Toccata thì chỉ mới vol 1. Các thu âm khác của Gould:
http://www.glenngould.com/bycompos.html
Nhìn vô cái collection ở trên mà thấy ngất ngây luôn: những bản thu âm nổi tiếng của Bach, các bản piano sonata, cả bản giao hưởng 5,6 do Liszt chuyển soạn cho piano của Beethoven...Ông Gould được xem là thiên tài...điên (the nut is the genius, hổng nhớ ai nói), phát biểu nhiều cái nghe ..ghê ghê: kiểu như Mozart nên chết từ lúc còn nhỏ, dù phục kỷ thuật piano của Chopin nhưng chê mấy bản concerto của Chopin (lẽ ra ông Chopin không nên chen lấn vô concerto làm gì)....Ông Gould nghe nói chỉ phục Bach, coi ông này là độc tôn, trọng âm nhạc Baroque với thế kỷ 20, hổng có cảm tình lắm với âm nhạc lãng mạn, cổ điển,của Mozart hay Beethoven ,mấy ông kia ông chửi tuốt, không chửi Beethoven nhiều, còn Mozart thì ổng chơi để cho thấy Mozart viết nhạc dỡ cỡ nào....Toàn những phát kiểu giật gân...Và tui cũng chỉ nghe bà con trên mạng nói vậy , hổng biết nó chính xác tới đâu. Ai có biềt thêm thì chỉnh sữa, bổ sung giùm. Nếu được thì Apomethe post nhạc, giới thiệu giùm ông Glenn Gould thì hay quá.
Hổng biết là ai có Bach Concerto cho harpsichord cho 2,3,4 cây không BWV 1060 tới 1065, vì trước đây chỉ thấy cho 1 harpsichord (chơi thay bằng piano, của Gould, Apomethe post). Hình như concerto loại này (2,3,4 cây harpsichord) ít thu âm thì phải.
Được tao_lao sửa chữa / chuyển vào 14:54 ngày 03/06/2005