CD

《马友友 巴赫:无伴奏大提琴组曲》荣获格莱美最佳乐器独奏奖，近年来首度以专辑单独装个别发行，DSD技术重新Remastered处理。

作曲：J.S.Bach
演奏：Hopkinson Smith(baroque lute)
录音日期：1980
发行公司：Astree
资源出处：brookbach
专辑介绍:
J. S. 巴赫为独奏小提琴而作的奏鸣曲与组曲一共6首，BWV1001—1006，大约作于1720年，克滕。这6首奏鸣曲与组曲，巴赫设计了小提琴表达所能演奏的一切和弦，使用了几乎不可能演奏的对位技巧。它们构成了巴赫小提琴音乐的最高峰巅。在巴赫之后，小提琴无伴奏奏鸣曲很少有人再创作，是因为再也无法逾越这座峰巅。这6首无伴奏奏鸣曲与组曲，第一、三、五为奏鸣曲，二、四、六为组曲，据推测，乃为当时克滕宫廷乐团的小提琴演奏家约瑟夫·史比斯(Joseph Spiess)所作。(林逸聪)
鲁特琴是欧洲音乐故乡之一的南欧古国意大利的传统乐器，是吉他的前身，长颈鲁特琴的起源至少可以追溯到公元前2000年，而一般认为鲁特琴于15世纪末开始独立发展（因为之前鲁特琴和它的阿拉伯祖先乌德琴无论从外形还是演奏技巧上都很像）。与其他乐器相比，鲁特琴的地位极不一般，他是中世纪及文艺复兴时期乐器中的ozymandias（王者之王），不仅广泛用于宫廷演奏，也在民间占据一定的地位，Bach、Vivaldi等古典音乐大师都有鲁特琴独奏曲传世。16世纪的鲁特琴由6个弦组11条弦构成，而之后不断发展，弦和弦组的数目不断改变，慢慢向曼多拉、曼陀林、安杰列卡等乐器转变，而曼陀林和维奥尔琴正是当时的世俗音乐即游吟诗人的音乐中运用最广的乐器。
鲁特琴极为修长轻巧，一般称梨形，琴身厚度不到1/16英寸，面板中间是一个雕刻的音孔和装饰圈，背板呈圆弧形，琴头则与琴身有一定角度。古典鲁特琴的琴弦一般是用羊肠制成，是其音色格外轻柔，16世纪由于弹拨方式由拨片改用手指，故于鲁特琴的轻巧“脆弱”注重细微差异的特点相适应。由于背撑（背板由木条固定其上）只有1/32英寸的厚度，故无法承受高拉力，因而演奏者只用手指厚实的部位去“碰触”，并且控制2手的活动范围。
另外，鲁特琴极易走音，故需要高频率的调弦，致使有演奏者戏说，调弦的时间比演奏的时间还要多的多。 (Nyx)
这套专辑是Hopkinson Smith用一把13弦巴洛克鲁特琴演奏的巴赫无伴奏奏鸣曲与组曲

古典吉他 保罗 格布瑞什 巴赫奏鸣曲与组曲
这里要介绍的是一套珍贵的巴赫作品的唱片，这套唱片值得学习研究的东西实在不少。这是一套巴赫为小提琴所作的六首奏鸣曲、帕替塔。改编者是美国著名的古典吉他演奏家Paul Galbraith。
J. S. 巴赫为独奏小提琴而作的奏鸣曲与组曲一共6首，（BWV1001—1006，克腾）大约作于1720年。在这6首奏鸣曲与组曲中，巴赫设计了小提琴所能演奏的一切和弦，使用了几乎不可能演奏的对位技巧。它们构成了巴赫小提琴音乐的最高峰巅。在巴赫之后，小提琴无伴奏奏鸣曲很少有人再创作，是因为再也无法逾越这座峰巅。这6首无伴奏奏鸣曲与组曲，第一、三、五为奏鸣曲，二、四、六为组曲，据推测，乃为当时克滕宫廷乐团的小提琴演奏家约瑟夫·史比斯(Joseph Spiess)所作。
首先要介绍的是这张唱片的演奏家Paul Galbraith，Galbraith 在17岁时就赢得了塞戈维亚国际吉他大赛的银奖，塞戈维亚评价他的演奏为：“华丽而高尚”。第二年，他赢得了BBC TV颁发的年度青年音乐家奖。他的琴声响彻世界各地的著名音乐厅，同时他也和世界许多一流的交响乐团合作。
他演奏的吉他非常独特，这种吉他是他和英国著名的吉他制作家David Rubio 共同设计制作的。演奏的姿势有些象大提琴（如图所示），在琴的尾部还有一根空心的金属管架在一个木制共鸣箱上以增加琴的共鸣。在这种吉他的图片上大家可以看到，这种吉他有8条弦，2-7弦的定音和普通吉他一样，第一弦和第八弦是增加的开放弦，用以增加琴的共鸣和夸大音域。这种吉他拥有一个非常好的名字叫“勃拉姆斯”。由于增加了琴弦，出于音准的方面的因素，弦的长度不太可能一致，否则就会产生很多问题，这个问题最终是采用斜的弦桥和弦枕解决。这个设计并非Rubio首创，其实，这个想法来自文艺复兴时期的一种古代乐器“Orphereon(古希腊神话里的人物）”。大家如果仔细观察的话就会发现，很多拥有多弦的乐器弦长都是不等的，比如竖琴、钢琴等。这种吉他在听感上非常透明，共鸣很好，很有音响发烧友们强调的那种“厅堂”效果和“空气感”。可惜的是，吉他制作大师Rubio已经过世，不知谁能继承他的这个传统制作类似的乐器。
Galbraith在演绎巴赫的这部作品的独特性和他手里的乐器一样卓而不凡。他对这部作品又非常独到的见解。他说，在过去的几年里，我对这部作品有一个非常坚定的信念——6首独奏曲，就象巴赫所称的，应该是一首作品的构思，就象“组曲的组曲（Like a Suite o Suite)，我个人的感觉是，这“6首独奏曲”是一部器乐的福音书故事，它包含三个部分，基督的诞生、受难以及复活。
Galratith改编后的“6首独奏曲”在和声方面比一般传统的版本要丰富许多，这些复杂的声部在他手里交待的非常清晰和富有逻辑性。有些乐曲他的演奏不仅是在叙述，更象在沉思，比如，大家非常熟悉的《恰空》，他整整用了近20分钟的时间演绎，这是我所听过的最慢的版本之一（比斯托克夫斯基的管弦乐版还要慢几秒钟）。由于吉他的发音的点式发音，音符持续的时间不长，所以用这么慢的速度演奏这部作品是极其冒险的，然而事实说明，这个险无疑冒得非常成功。聆听这部作品，就象一个虔诚的教徒在一座高耸入云的教堂里祈祷。

Sony Classical is proud to announce the release of Yo-Yo Ma's new album Six Evolutions Bach Cello Suites, his third and final recording of these works. Bach and his Cellos Suites entered Yo-Yo Ma s life when he was four, when he learned the first measure of the Prélude to Suite No. 1 under his father s instruction. Ma has never lost his initial fascination. "Bach's Cello Suites have been my constant musical companions," Ma writes of the music. "For almost six decades, they have given me sustenance, comfort and joy during times of stress, celebration and loss. What power does this music possess that even today, after three hundred years, it continues to help us navigate through troubled times?" Ma is more convinced than ever of the suites ability to create shared meaning that extends far beyond the here and now. The suites collective vision at once divergent and coherent, empathic and objective reminds us of all that connects us despite an increasingly discordant public conversation. The August release of Six Evolutions also signals the beginning of a two-year, six-continent journey in which Yo-Yo Ma will devote himself to Bach s music, playing all six Cello Suites in a single setting in familiar and unlikely locations. Six Evolutions Bach: Cello Suites will not only offer an essential encapsulation of what this music means now to one of the world's most celebrated artists, it begins a new chapter in the cellist's 58-year relationship with this music.

35 tracks and just one name: Johann Sebastian Bach. Icelandic pianist Víkingur Olafsson continues his successful recording career with a collection of well and lesser known pieces by the famous baroque composer. The selection includes reworks by Bach himself of composers such as Vivaldi and Busoni and Transcriptions / Reworks of Chorals by Víkingur Ólafsson himself. Víkingur Olafsson’s interpretation of the baroque repertoire are crystal clear, modern and hauntingly beautiful. In his very own style Víkingur perfectly captures Bach as a master of balance whose music is the ideal combination of emotion and intellect, singing melody and sculpted counterpoint.

The Bach - 100 Supreme Classical Masterpieces: Rise of the Masters collection is a great way to add Bach's works to your classical music collection. Though I have owned this set for a while, and have been enjoying it tremendously, I decided to post this note after purchasing and listening to The 99 Most Essential Bach Masterpieces (Full Works Edition). It's a great set for those who want to listen to the complete works as the composer intended. This set includes some of the same works, including complete works, and is a better value. It has about 1 hour less of music but is about half as much.
This collection features many performances by the Bach Collegium Japan and Masaaki Suzuki, while in the full works collection they are only represented in the Cantata (BWV 147) and the Orchestral Suite No. 3 in D Major (BWV 1068). Also duplicated are the 5 tracks that make up the performance by Conrad von der Goltz of Partita Number 2, while the other set does not include the 6 tracks devoted to Nobuko Imai's rendition of Partita Number 3.
This set also contains a number of works present in the other set but by different performers. Orchestral Suite Number 2 in B Minor (BWV 1067) is performed here by the Drottningholm Baroque Ensemble and Penelope Evison, while the Masters set includes a performance by Camerata Rhenania and Eugen Duvier. Similarly the Sonata in E-Flat Major for Flute and Harpsichord (BWV 1031) is performed here by Sharon Bezaly and Terence Charlston, while in the other set it is performed by The Moravian Trio. About a quarter of the same works are similarly presented on the other set by different performers.
CONCLUSION
This set includes a nice variety of high quality performances at a great value. There is definitely tremendous value to those who want to listen to these works sequentially with all the movements. While both sets provide some complete works, and the other set still has sufficient variety, the Rise of the Masters collection is a better value at this time. I hope you get to purchase and enjoy one or both of these collections.
We're seeing more of these classical music collections on Amazon, and this one is superb. Nearly half of the tracks are from the outstanding Bach Collegium Japan (BCJ), or its conductor, complemented by an assortment of other skilled performers. Here's what we have in this album.
Tracks 1-3 Brandenburg Concerto No. 3, BCJ -- Performed at an astonishingly breakneck pace (especially the third movement), the strings are skillful and lyrical. At this very upbeat tempo, the third movement becomes an unfolding of changing textures, in the spirit of Philip Glass, which is an interesting change from other slower performances. Like all the BCJ tracks here, the recording is superb.
4 Toccata and Fugue in D Minor -- A polished and enjoyable performance, like many other recordings of this work. For a very different interpretation that I like better, filled with energy, check out Bach Organ Blaster, with Michael Murray as the organist.
5-7 Brandenburg Concerto No. 5, again with the BCJ. -- Very nice, and well-recorded. The harpsichord solo in the first movement is not my favorite interpretation, but it's fine and precise in every way.
8 Prelude in C Minor for Solo Lute -- Mellow, nicely recorded.
9-13 Orchestral Suite No. 3 in D Major, BCJ -- Another fine performance from the BCJ, and wonderfully recorded. A gem.
14-20 Orchestral Suite No. 2 in B Minor, Drottningholm Baroque Ensemble -- Very good sound, and a solid performance in the European style. Includes the famous Bourree which does not disappoint.
21-26 Partita No. 3 in E Major -- This virtuoso work for solo violin is performed by the very accomplished Nobuko Imai. Solid. The Rondo in the third movement is one of my favorite Bach pieces.
27-31 Partita No. 2 in D Minor -- Another virtuoso work for solo violin. Recorded in a larger hall than the previous Partita, so it has a different sound. Conrad von der Goltz is also very good. I think I like Nobuko Imai's performance of the No. 3 a bit better.
32 Sheep May Safely Graze, from Cantata BWV 208 -- This is performed by a brass band, which is a very different sound than the usual baroque orchestra. It's a very nice mellow sound.
33-42 Cantata BWV 147, BCJ -- Includes the famous chorale Jesu, Joy of Man's Desiring. A beautiful performance of the full cantata, very nicely recorded, with excellent soloists.
43 Fugue in G Minor for Solu Lute -- Very nice performance of music that Bach also used in different settings.
44-49 Six Schubler Chorales -- Performed by Hans Fagius, organist. The sound is very spacious and pleasing. Fagius uses good voicing on the organ.
50 Aria and 30 Variations from the Goldberg Variations -- Very nice harpsichord, and very well recorded.
51-53 Sonata in E-Flat Major for Flute and Harpsichord -- Very pleasing performance and recording, but to my ear not distinguished in any particular way.
54 Adagio in B Minor from the Easter Oratorio, BCJ -- The Easter Oratorio is one of my favorite Bach works. The Adagio is slow and plaintive. Nicely recorded as are all the BCJ tracks.
55-60 Suite No. 1 in G Major -- This is a virtuoso work for solo cello. Torleif Thedeen's tone and technique are great. And it's recorded very nicely. You'll often hear more than one string on the cello played together. This is a difficult technique to master, and integral to this work (and also to the earlier Partitas for violin). Solid.
61-66 Concerto No. 2 in E Major, BCJ -- Another wonderful performance from the BCJ. Just beautiful in every way.
67 Fugue in G Minor -- This is the famous Little Fugue for organ. This is performed on a small organ (or at least with small voicing), which suits the piece well. The tempo is very moderate. I'm accustomed to hearing this played at a somewhat more upbeat tempo. Nevertheless, it's an enjoyable recording.
68-73 Suite in E Minor for Solo Lute -- Again by Jakob Lindberg, this is a polished performance. The solo lute is mellow and relaxing. Try this one as background music over a romantic dinner.
74-76 Double Concerto in D Minor, BCJ -- Yet another very fine recording from the BCJ.
77-79 Double Concerto in C Minor, BCJ -- Also from the BCJ, and excellent in every way. The solo oboe is beautiful and lyrical.
80 Fantasia and Fugue in G Minor -- An organ work performed by Otto Winter. Fine in every way, but also check out the very energetic recording of this on Bach Organ Blaster by Michael Murray.
81-85 Inventions for Harpsichord -- Performed by Masaaki Suzuki, founder and conductor of the BCJ. Excellent performances, and very nicely recorded.
86-88 Concerto in A Major -- Solid performance in old-school European style.
89-91 Concerto in G Minor -- Another performance in the European style. The tempo should be a bit faster, in my humble opinion. But a nice recording, very enjoyable.
92 Suite No. 3 in C Major -- This virtuoso work for solo cello is performed very nicely by Torleif Thedeen. Romantic and lyrical.
93-100 Mass in B Minor (highlights), BCJ -- The B-minor mass is one of Bach's best large works. The perfomance is solid, the recording impeccable. Excellent chorus and soloists.
In summary, this is an excellent collection, and an impressive value. Most of the performances are superb, and there aren't any real losers here at all. Highly recommended.

Penguin Guide Rosette.
This is one of the most important recordings of the 20th century, both for its content (considered by many the greatest cello music of all time) and for the intense devotion, careful preparation, and towering technical skill that went into the project. It was a brilliant idea to make a video as well as an audio recording. Cellists will welcome the chance to study Rostropovich's bowing and fingering techniques, close up and at leisure. And music-lovers will welcome the visuals of the recording location, a French church whose architecture, statues, and flickering candles complement the music.
Mstislav Rostropovich knew, loved and practiced the Bach suites from his teen years, when the legendary Pablo Casals gave him a private performance of one of them. But he did not feel ready to record the complete set until he was 63 years old. Then he found an ideal location for the recording; he carefully chose his recording technicians, and he supervised the sessions besides playing the cello as only he can. Each note is carefully considered and given its unique shape. The music's structures are made clear, its emotional overtones powerfully conveyed. The conventional structure of a baroque suite--an elaborate overture followed by a series of dances--comes vigorously to life. And Rostropovich gives a spoken introduction to each suite (in Russian, with English subtitles) playing illustrative passages on the piano or organ.
The result may appeal mostly to specialized tastes (unaccompanied cello is not everyone's cup of tea), but this video is a landmark. --Joe McLellan

米凯兰杰利在AURA的录音集，CD7。此版‘恰空’完胜EMI的那版。

Hilary Hahn (born November 27, 1979) is an American violinist. She has performed throughout the world both as a soloist with leading orchestras and conductors and as a recitalist. She has also built a reputation as a champion of contemporary music. Several composers have written works for her, including concerti by Edgar Meyer and Jennifer Higdon, partitas by Antón García Abril, and a violin and piano sonata by Lera Auerbach.