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台灣芭蕾舞團2020戶外演出
她是如此美麗
蕭泰然D調小提琴協奏曲
演出時間：8/22(六)14:30/19:30~8/23(日)14:30
演出地點：高雄衛武營國家藝術文化中心(榕樹廣場)
***免費入場 / 自由入座
節目全長100分鐘，包含一次10分鐘中場休息
上半場節目 ~
1. 莫札特交響協奏曲/第二樂章/行板
2.My Way（此次舞作演出將由台灣新銳女歌手~羅以琳現場演唱）
3. 孟德爾頌 E小調小提琴協奏曲/第三樂章/快板
4. 理查史特勞斯 ~ 最後四首歌/九月
5. 布拉姆斯D大調小提琴協奏曲/第二樂章/慢板, 以及及第三樂章/快版
中場休息10分鐘
下半場節目~
<她~是如此美麗>
蕭泰然D調小提琴協奏曲
Tyzen Hsiao Violin Concerto in D Major
台灣芭蕾舞團為您完整呈現~蕭泰然D調小提琴協奏曲
現場無座椅
無論您是穿著短褲、夾腳拖，或是盛裝打扮，歡迎全家大小自備野餐墊、小板凳、零食、以最輕鬆的心情前來欣賞台灣芭蕾舞團高水準的芭蕾演出
免費入場欣賞芭蕾舞團表演，8/22-23在高雄衛武營國家藝術文化中心(榕樹廣場)
#台灣芭蕾舞團2020戶外演出
演出場次：
1⃣️8/22(六)14:30
2⃣️8/22(六)19:30
3⃣️8/23(日)14:30
演出地點：高雄衛武營國家藝術文化中心(榕樹廣場)
#免費入場 #自由入座
節目全長100分鐘，包含一次10分鐘中場休息
上半場節目 ~
1⃣️莫札特交響協奏曲/第二樂章/行板
2⃣️My Way（此次舞作演出將由台灣新銳女歌手~羅以琳現場演唱）
3⃣️孟德爾頌 E小調小提琴協奏曲/第三樂章/快板
4⃣️理查史特勞斯 ~ 最後四首歌/九月
5⃣️布拉姆斯D大調小提琴協奏曲/第二樂章/慢板, 以及及第三樂章/快版
下半場節目~
1⃣️蕭泰然D調小提琴協奏曲Tyzen Hsiao Violin Concerto in D Major
現場無座椅
無論您是穿著短褲、夾腳拖，或是盛裝打扮，歡迎全家大小自備野餐墊、小板凳、零食、以最輕鬆的心情前來欣賞台灣芭蕾舞團高水準的芭蕾演出
https://www.npac-weiwuying.org/programs/5ee64e4f58ad3900060c4c0d?lang=zh
孟德爾頌e小調小提琴協奏曲第三樂章 在 [閒聊] 孟德爾頌e小調鋼琴協奏曲- 看板CSMU-SO - 批踢踢實業坊 的推薦與評價
抽到這張專輯還滿開心的
可惜主辦單位太晚公佈得獎名單 (演出當天下午4點多才公布)
就沒辦法給鋼琴家簽名
最後還是補寄給我 今天剛收到就拆來聽
過陣子再來補心得
Mendelssohn: the Piano Concertos
Matthias kirschnereit
Frank Beermann
Robert Schumann Philharmonie Chemnitz
Arte Nova 88697386222 (SONYBMG)
Piano Concerto No. 1 in G min
Piano Concerto No. 2 in D min
*Piano Concerto in E minor
*Concerto for Piano and String
https://www.sonymusic.com.tw/album_info.php?al_prodno=88697386222
孟德爾頌：鋼琴協奏曲全集
鋼琴:馬帝亞斯 奇許奈瑞特
指揮:貝爾曼
凱姆尼茲羅伯舒曼愛樂管弦樂團
這張專輯獲得World Premiere Recording of the Year
(2009年German Phono Academy舉辦的ECHO Klassik Award)
DISC 1
1. 1-3 鋼琴協奏曲第一號 作品25號
2. 4-6 鋼琴協奏曲第二號 作品40號
DISC 2
1. 1-3 e小調鋼琴協奏曲(世界首度錄音)
2. 4-6 a小調給鋼琴以及弦樂團協奏曲
◎2009年是孟德爾頌兩百年誕辰紀念日
◎收錄世界首度錄音： e小調鋼琴協奏曲，孟德爾頌僅留下前兩個樂章，
第三樂章由任職孟德爾頌學院的Larry Todd補遺!
◎鋼琴家奇許奈瑞特被譽為”德國學院派傳統繼承人”，
曾發行錄製過孟德爾頌獨奏作品
“最優秀的孟德爾頌鋼琴錄音” － 德國《唱片論壇》
“令人震懾的完美性……具高度啟發性、毫不矯飾，讓人耳目一新” － Rondo
“……這才是最原典的舒曼演奏！”－ 慕尼黑《tz》
受到舒曼以「19世紀的莫札特」讚譽的孟德爾頌，
在優渥無虞的環境下醞釀出動人的e小調小提琴協奏曲以及《仲夏夜之夢》等曠世鉅作。
本張專輯除了眾所周知的g小調和d小調二首鋼琴協奏曲外，
還包括了孟德爾頌13歲寫下的a小調給鋼琴與弦樂團之協奏曲，
以及未完成之e小調鋼琴協奏曲。
事實上，他於1842年開始創作第三號鋼琴協奏曲，
時值孟德爾頌回過頭完成延宕已久的e小提琴協奏曲的敏感時刻。
可惜的是，孟德爾頌始終未將此曲完成，僅留下前二個樂章管弦樂與鋼琴部分的草稿。
這份珍貴的錄音有賴任職孟德爾頌學院的Larry Todd重建下完成了前二個樂章，
第三樂章則依據同調性的小提琴協奏曲第三樂章獨奏部分改寫而成，
一了作曲家未竟之心願。
當今最受稱許的德國鋼琴家奇許奈瑞特(Matthias Kirschnereit)於
Arte Nova發行過孟德爾頌鋼琴獨奏作品，
在貝爾曼指揮下與邦貝格交響樂團合作的莫札特鋼琴協奏曲全集，廣受全世界樂評盛讚，
德國媒體更許為「德國鋼琴學派傳統繼承人」。
求學期間於德國Detmold音樂學院師承Renate Kretschmar-Fischer，
並有來自阿勞（Claudio Arrau）、普萊亞（Murray Perahia）、魏格（Sandor Vegh）
等多位大師長期以來的深厚影響；
除音樂外，奇許奈瑞特對繪畫、建築、義大利美食以及足球等皆有深度涉獵。
在這張唱片中，我們可以聽到奇許奈瑞特在規模不大的樂曲中，以寬廣的幅員、
澄澈的樂思，細膩地道出樂曲的精緻與華美，柔情的慢板樂章中那份深摯的刻畫，
是本片不容錯過的典雅詮釋。
-----------------------------------------------------------------------------
(以下是Amazon.com的資料)
https://www.amazon.com/F-Mendelssohn-Concertos-Matthias-Kirschnereit/dp/
B001MRMS9Q/ref=sr_1_1?ie=UTF8&s=music&qid=1259082381&sr=8-1
I come to this set of the complete Mendelssohn piano concertos,
fresh from gushing over Derek Han in the piano concertos.
To a first and second concerto, this set adds:
(1) a reconstructed piano concerto in E minor, and
(2) the early concerto in A minor for piano and string orchestra.
Our band is a regional outfit, the Robert Schumann Philharmonie Chemnitz.
Our conductor is Frank Beermann. Our soloist is Matthias Kirschnereit.
Chemnitz is in the Saxon State region of Germany.
It has other bands of fairly big reputation, in Leipzig, in Dresden.
2009 represents the two hundreth anniversary of Mendelssohn's birth,
so Leipzig and a number of other places or peoples are celebrating.
One guesses this new set from Arte Nova is part of that recognition.
The RSPC has never achieved the recorded catalog prominence of bands in
Leipzig or Dresden, despite its 170-year history.
This musical group sounds like a strong regional band, and
given how much regional players around the world have been improving
in the past decade or two,
noting that the group is a regional band is not a first nod against the music.
Frank Beermann?
He rose through the ranks of Germany's regional music organizations,
stepping right up in opera, Detmold to Darmstadt, to Freiburg, Hamburg,
and then really began to hit a career stride with assignments in Berlin,
Stockholm, Bonn, Munich, Leipzig, Barcelona, and Marseille.
As an opera leader, Beermann has a reputation for bel canto readings of
Donizetti and others.
Since 2007-2008, Beermann is appointed music director in Chemnitz.
This gives off a clue that maybe he is something of an
orchestra builder (like many notable leaders in the past),
and so might be charged with building up the RSPC.
Matthias Kirschnereit?
He studied in Detmold, too,
and had a break-through win in the Bonn German Music competition
and the Australian Geza Anda competition. He has recorded a few solo discs,
with his big splash probably embodied in the
complete set of Mozart piano concertos he has added to the catalog.
In that set, Frank Beermann is again at the helm, and the band is Bamberg SO.
One suspects that the complete Mozart concerto set will leave a lasting mark
in the catalog, though how long it will be available in
your local commercial markets, nobody can say for sure.
Kirschnereit is fully the equal of nearly any distinguished Mozartian of
the recent or far past, for whom we have recorded documentation.
He reaches right up there, high.
His Mozart can stand open comparison with Brendel, Perahia, Uchida, Rubinstein,
Curzon, Clara Haskil, you name it.
Kirschnereit has already been named to the piano competition jury of
the pending Gina Bachauer competition, set for 2010.
The sound is very good in this set.
It offers a medium-sized sounding hall,
probably the home of the band in Chemnitz. Frequency balance is fine.
No complaints about the engineering balances of reflected versus direct sound,
either.
You can hear plenty of detail, from the piano (Steinway D), and from the band.
This lets us listeners really hear all the ensemble moments that
Mendelssohn wrote into these works,
and as it turns out, that really heightens the sparkle and energy that
permeates these readings.
Kirschnereit is his own man when it comes to Mendelssohn and the piano.
Typically, players emphasize the lyrical-romantic axis when playing
Mendelssohn.
The risk of focusing on that axis is mainly that Mendelssohn in
his piano music can come off, sounding far too much like a German middle class,
drawing room composer, with musical colors more often pastel than not,
musical effects much more genteel than not.
Kirschnereit knows enough to phrase those melodies with singing verve.
However, he also adds punch.
He prefers not to peddle any more than he has to,
so his playing comes through with enormous clarity.
These talents serve Mendelssohn as well as they have already served in that
Arte Nova released complete set of Mozart piano concertos.
Competition among alternative readings for the first
and second Mendelssohn piano concertos is pretty high.
Derek Han, Murray Perahia, Stephen Hough, Rudolf Serkin, Howard Shelley,
Andras Schiff, Thibaudet, Anton Kuerti, John Ogdon.
An Amazon search turns up, towards a thousand or more listings.
Kirschnereit and friends belong towards the higher reaches of
the preferred lists.
You can get recordings of Mendelssohn played differently;
you can hardly get recordings of this music, played better.
Beyond the first two concertos,
the additional lure of this set will be
the reconstructed piano concerto in E minor,
and the early student work for piano and string orchestra.
That earlier music is just fine,
though perhaps not as forcefully characterized
as Mendelssohn's later music of large reputation.
You can compare this early concerto with
the contemporary Mendelssohn string symphonies,
if you want to get a sense of their position in the composer's development.
The reconstructed piano concerto is new, unfamiliar.
Scholar Larry Todd edited two movements from extant Mendelssohn sketches
and drafts, which were mostly complete.
The composer broke off working on this, his pending third piano concerto,
to write the entirely memorable Violin Concerto in E minor.
Then he never quite got back to finishing up those drafts.
The most controversial aspect of this reconstruction may be the editor's
decision to use the final movement of the famous violin concerto, transcribed
for keyboard solo with band, as the concluding movement.
To my ears, it all sounds fine, true to the composer's style.
Nobody will ever want to give up the violin concerto, of course,
in favor of exchanging it for this reconstructed third piano concerto.
But we can have both, thanks to the recording arts.
If you do not already know the Mendelssohn piano concertos,
you cannot go wrong with this set, including its reconstructed and early works.
If you already own a favorite or two or three, well,
this set might further enhance your fav shelf.
Five stars, recommended.
And do check out those complete Mozart piano concertos.
My sense is that Arte Nova stuff does not hang around in the USA catalog
for all that long.
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