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ed2k://|file|Rachel.Barton.Pine.-.%5BTestament-.Complete.Sonatas.%26.Partitas.for.Solo.Violin.by.Bach.%28CD.1%29%5D%E4%B8%93%E8%BE%91.%28Flac%29.rar|295148670|50050fd916a701b41352267bf0553c79|h=zx4ydvazlbjskkp7t37gowm3jgm4vtvn|/ 简介: 专辑介绍: Rachel Barton Pine 瑞秋．巴顿．派恩 1974年生於美国芝加哥，三岁半开始学琴，七岁就登台，十岁与芝加哥交响乐团合奏，可以说是资赋优异的神童。 在家就学，每天练琴八个小时。 家里并不富裕，十四岁开始，不得不在一些婚礼场合或是乐团演奏以贴补家用。十七岁(1992)以最年轻及第一位美国人的身份赢得巴赫国际大赛的首奖及Jozsef Szigeti Violin Competition第二奖，还有国际克莱斯勒大赛的首奖。 1995年1月16日瑞秋在芝加哥搭地铁时，背在肩膀的琴盒被门夹住，被捲入366英呎远的轮下，经急救后，双腿截肢。 之后她控告芝加哥西北铁路公司要求赔偿，对方认为瑞秋是为了保护价值五十万美金的阿玛蒂名琴而受伤，所以应该负担大部分的责任。不过，陪审团显然并不这么认为。 经过年的休养，瑞秋重返乐坛。 2001年利用铁路公司的赔偿金，成立了以自己的名字为名的基金会。 艺人 Rachel Barton Pine 发行月份 2016-Apr 类型 古典音乐 【国际乐讯】小提琴家 Rachel Barton-Pine 睡在机场大厅抗议航空公司不让她带小提琴上机 几天前，小提琴家 Rachel Barton-Pine跟家人要从凤凰城的天港 Sky Harbor 机场飞往芝加哥，却被US Airway 航空阻拦说，她的1742 年耶穌瓜奈里 ‘Soldat’ 名琴，因为超过尺寸不得放在客舱内的头顶行李箱，客舱也找不到其他空间，要求她寄入货舱或是等下班飞机。她很生气地跟WQXR电台表示：「明明就还有空间的，其他旅客的包包挪动一下就可以，这就是很简单的重新放行李的事情而已啊，不过他们还是不让我放。」最后她选择跟家人搭下一班飞机，不过衣物等行李仍在原班机上先飞回芝加哥了。在等待下一班早班飞机的时间中，她索性就跟四岁女儿躺在机场航厦候机大厅睡觉。 耶穌瓜奈里 ‘Soldat’ 名琴，保守估计市值一亿五千万台币以上，1742年更是耶穌瓜奈里的制琴黄金年代，同期作品最高已有六亿台币身价，属於人类极稀有文化资产，也是音乐家职业生涯的谋生工具和第二生命，想当然尔「琴在人在」的音乐家一定是极尽生命在保护。 1995年，Pine在伊利诺州郊区 Winnetka 车站下火车时，当时车门安全科技尚未有感应器，意外夹住她肩上琴盒的背带(琴盒内的是Amati 名琴)，在被人救下前火车夹住她的左肩拖行了366英尺，造成她双脚部分截肢。虽然最后在诉讼上告赢 Metra 和芝加哥西北铁路，但这期间的疗程跟花费，对她的职业生涯有著很大的影响，想必她在搭乘交通工具上的态度也是格外小心。 根据 US Airway的规定，带上机的乐器，必须合乎行李箱尺寸规定，机组人员会尽力为乘客寻找合适的空间摆放，但以不挪动其他乘客已摆好的行李为原则。 连结为Rachel Barton-Pine 演奏自己改编的炫技版生日快乐变奏曲 引用 Release Date April 1, 2016 Duration02:05:22 Genre Classical Styles Chamber Music Recording DateApril 16, 2015 - April 18, 2015 AllMusic Review by Blair Sanderson Rachel Barton Pine has often performed the Sonatas and Partitas of Johann Sebastian Bach in recital, but her 2016 release on Avie is her first studio recording of this essential masterwork for violinists. Using a Baroque bow on a modernized 1742 Guarneri de Gesù violin, Pine plays the Sonatas and Partitas with crisp accentuation, transparent voicing, and a warm tone, much as she does in her concert performances. Her interpretation, which is influenced by period practices but not limited by them, offers clear counterpoint in the sonatas and buoyant dance rhythms in the partitas, and there is little scratchiness in her stopped chords to disrupt the smoothness and transparency of her elegant lines. Pine's depth of feeling and expressive insights into the music keep it from seeming like dry, technical exercises, yet there is none of the overly rhetorical Romantic approach here, either, so this reading does justice to Bach's likely intentions while communicating emotion in a subtle and tasteful manner. Highly recommended. Conductor: na Composer: J.S. Bach Audio CD (April 1, 2016) Number of Discs: 2 Label: Avie ASIN: B01AYPMSF0 Average Customer Review: 5.0 out of 5 stars 5.0 out of 5 starsWonderful playing By Alan A. Elsner VINE VOICE on April 10, 2016 Format: Audio CD This is a wonderful new account of these timeless and peerless masterworks by Bach. I compared Rachel Barton-Pine's interpretation to my long-treasured version played by the great Nathan Milstein -- and they are very different. Barton-Pine's performance is warmer, recorded in a church which produces a soft, glowing sound and she plays mostly with a sumptuous, smooth legato. Milstein is much choppier. He attacks many of the pieces, producing a more guttural, harsher effect. (I never realized this until I heard the contrast.) Obviously both are totally in command of their instruments. I think there's definitely room in the world for both approaches. Barton-Pine lingers more on the beauty, with gorgeous, sweeping phrasing and a more ephemeral approach. Milstein seems grittier. I love them both. 专辑曲目: 01. Sonata No. 1 in G Minor, BWV 1001: I. Adagio 02. Sonata No. 1 in G Minor, BWV 1001: II. Fuga 03. Sonata No. 1 in G Minor, BWV 1001: III. Siciliana 04. Sonata No. 1 in G Minor, BWV 1001: IV. Presto 05. Partita No. 1 in B Minor, BWV 1002: I. Allemanda 06. Partita No. 1 in B Minor, BWV 1002: II. Corrente 07. Partita No. 1 in B Minor, BWV 1002: III. Sarabande 08. Partita No. 1 in B Minor, BWV 1002: IV. Tempo di Borea 09. Sonata No. 2 in A Minor, BWV 1003: I. Grave 10. Sonata No. 2 in A Minor, BWV 1003: II. Fuga 11. Sonata No. 2 in A Minor, BWV 1003: III. Andante 12. Sonata No. 2 in A Minor, BWV 1003: IV. Allegro 13. Partita No. 2 in D Minor, BWV 1004: I. Allemanda 14. Partita No. 2 in D Minor, BWV 1004: II Corrente 15. Partita No. 2 in D Minor, BWV 1004: III. Sarabanda 16. Partita No. 2 in D Minor, BWV 1004: IV. Giga 17. Partita No. 2 in D Minor, BWV 1004: V. Ciaccona 18. Sonata No. 3 in C Major, BWV 1005: I Adagio 19. Sonata No. 3 in C Major, BWV 1005: II. Fuga 20. Sonata No. 3 in C Major, BWV 1005: III. Largo 21. Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai 22. Partita No. 3 in E Major, BWV 1006: I. Preludio 23. Partita No. 3 in E Major, BWV 1006: II. Loure 24. Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau 25. Partita No. 3 in E Major, BWV 1006: IV. Menuet I & II 26. Partita No. 3 in E Major, BWV 1006: V. Boureé 27. Partita No. 3 in E Major, BWV 1006: VI. Gigue |
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