目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Sonata for Solo Violin No. 1 in G Minor, Op. 27：I. Grave. Lento assai | 00:05:21 |
|
2 |
Sonata for Solo Violin No. 1 in G Minor, Op. 27：II. Fugato. Molto moderato | 00:05:03 |
|
3 |
Sonata for Solo Violin No. 1 in G Minor, Op. 27：III. Allegretto poco scherzoso. Amabile | 00:05:14 |
|
4 |
Sonata for Solo Violin No. 1 in G Minor, Op. 27：IV. Finale con brio. Allegro fermo | 00:03:04 |
|
5 |
Sonata for Solo Violin No. 2 in A Minor, Op. 27：I. Obsession. Prélude. Poco vivace – Meno mosso – Tempo vivo | 00:02:26 |
|
6 |
Sonata for Solo Violin No. 2 in A Minor, Op. 27：II. Malinconia. Poco lento | 00:03:14 |
|
7 |
Sonata for Solo Violin No. 2 in A Minor, Op. 27：III. Danse des ombres. Sarabande. Lento – Variation I – Variation II. Musette – Variations III, IV, V, VI | 00:05:04 |
|
8 |
Sonata for Solo Violin No. 2 in A Minor, Op. 27：IV. Les Furies. Allegro furioso | 00:03:37 |
|
9 |
Sonata for Solo Violin No. 3 in D Minor, Op. 27：Ballade | 00:07:13 |
|
10 |
Sonata for Solo Violin No. 4 in E Minor, Op. 27：I. Allemanda. Lento maestoso | 00:06:18 |
|
11 |
Sonata for Solo Violin No. 4 in E Minor, Op. 27：II. Sarabande. Quasi lento | 00:03:52 |
|
12 |
Sonata for Solo Violin No. 4 in E Minor, Op. 27：III. Finale. Presto ma non troppo | 00:03:18 |
|
13 |
Sonata for Solo Violin No. 5 in G Major, Op. 27：I. L’Aurore. Lento assai | 00:04:59 |
|
14 |
Sonata for Solo Violin No. 5 in G Major, Op. 27：II. Danse rustique. Allegro giocoso molto moderato – Moderato amabile – Tempo primo | 00:05:39 |
|
15 |
Sonata for Solo Violin No. 6 in E Major, Op. 27：Allegro giusto non troppo vivo – Poco lento – Allegretto poco scherzando – Allegro tempo primo | 00:08:10 |
专辑简介
In this album, Sergey Khachatryan presents the first recording of Ysaÿe\’s 6 Solo Sonatas Op.27 on the composer’s Guarneri del Gesù violin – a magnificent, hypnotic instrument!
Today aged thirty- eight, and the precocious First Prize Winner of the International Sibelius Competition in 2000 and the Queen Elisabeth Competition in 2005, the Armenian violinist here once more demonstrates his radiant maturity, along the same lines as he did in his sumptuous recording, so personal, of Bach’s Sonatas and Partitas.
Here Sergey Khachatryan delivers an interpretation of heightened feelings, where what might otherwise come across as impish is deliberately turned into something fierce (the Prelude of Sonata No. 2, which uses the opening motif of Bach’s Partita No. 3), or that which is merely imitative becomes wild and relentless (the Finale of Sonata No. 4).
He willfully emphasizes the popular inspiration underlying the complete collection, here replete with shadings and a sumptuousness previously unheard.
