爱华网专辑中文名: 维瓦尔第 四季小提琴协奏曲
艺术家: Janine Jansen
古典类型: 协奏曲
简介:
此版本为SACD-ISO
姓名： 珍尼·简森（Janine Jansen）
出生日期： 1978年11月13日
出生地： 荷兰
使用提琴： 1727年的Cremona Antonio Stradivari名琴.
个人语录：“对于一名音乐家来说最重要的事情就是保持自然、保持本色，永远不要故作姿态去表演什么。演奏音乐就是一件表达自然的过程，你要做的就是跟着自己的感觉，将自己的感情释放出来。”
媒体反应： “如果非得要用一个词来概括荷兰小提琴家珍尼?简森，那就是‘能量’。当她给勃拉姆斯协奏曲这样老掉牙的作品接通电流后，一切就开始嘶嘶响了——她拥有勃拉姆斯所要求的一切：自由横跨两个八度之间的能力、用燃烧般的手指来给史诗作品打上烙印的能力、以及在龙卷风里面保持静止和小声吟唱的能力。”——2004年10月15日，《泰晤士报》（The Times）
“她看起来的确拥有一切：豆蔻年华、雕像般的美貌、令人震惊的技术、令人陶醉的抒情音色和令人屏息的舞台举止。” 另一篇来自《泰晤士报》的纯商业性吹捧文章
点评： 为了配合自己的唱片《维瓦尔第“四季”小提琴协奏曲》在荷兰的热销，去年11月珍尼?简森亲自驾驶一架直升飞机来往于荷兰不同城市之间进行音乐会巡演造势，不知道这算不算“表演”。《留声机》的乐评人劳伦斯（Richard Lawrence）不无遗憾地认为珍尼?简森的商业包装有时候使人感到困惑，我也感到困惑，所以如果她开飞机来上海演出的话我一定去看个究竟。
屈指一算，上世纪70年代至80年代初出生的具有世界声誉小提琴女杰，已有莱拉·约瑟夫维茨、希拉里·哈恩、美岛莉、诹访内晶子、张萨拉以及雷切尔·巴顿（Rachel Barton）等人。这款新专辑上的妙龄美女，对于绝大多数中国听众来说又是一位新面孔，她叫珍尼?简森（Janine Jansen），1978年11月13日出生于荷兰。
这位小提琴新秀年纪虽轻，但她的演奏足迹早已遍及大西洋两岸。她不仅在荷兰家喻户晓，在国际乐坛的名声也越来越响亮。她在欧美的演出，咱们中国爱乐人极难亲临现场欣赏到，所以我们对她知之甚少。其实，早在前几年，她已开始推出个人录音专辑，其中有收录了8首经典小品的一款，包括柴科夫斯基的《天鹅湖》选段、哈恰图良的《假面舞会》、圣桑的《引子与回旋随想曲》、沃恩·威廉斯的《云雀高飞》、拉威尔的《茨岗》，以及肖斯塔科维奇和约翰·威廉斯分别为电影《牛虻》和《辛德勒名单》的谱曲等。如果说这款专辑还属于“小品级别”的话，珍尼?简森还推出过一款维瓦尔第的小提琴协奏曲《四季》，而且好评如潮。这可是考验一位成熟演奏家的试金石式的演录，说明她的艺术功力又有了提升。
近年来，珍尼?简森涉足巴罗克时期和浪漫时期的经典小提琴“大作”的尝试日渐增多。除维瓦尔第的《四季》，还有勃拉姆斯的小提琴协奏曲，她的表现也愈见惊人。2004年10月15日，《泰晤士报》对她的演录勃拉姆斯“小协”作了这样的评述：“若非得要用一个词来概括荷兰小提琴家雅尼娜·扬森，那就是‘能量’。当她给勃拉姆斯协奏曲这样老掉牙的作品接通电流后，音乐就开始燃烧了——她拥有勃拉姆斯所要求的一切：自由横跨两个八度之间的能力、用燃烧般的手指来给这部史诗性作品打上烙印的能力、以及在龙卷风里面保持静止和小声吟唱的能力。”
在已取得成绩面前，珍尼?简森本人则保持了冷静的头脑，她说：“对于一名音乐家来说，最重要的事情就是保持自然、保持本色，永远不要故作姿态去表演什么。演奏音乐就是一件表达自然的过程，你要做的就是跟着自己的感觉，将自己的感情释放出来。”
Audio CD (October 11, 2005)
SPARS Code: DDD
Number of Discs: 1
Label: Decca
ASIN: B0007ZIYM4
‘Music is, just like nature, surprising, inexhaustible, endless and breathtaking. It is by far my largest source of inspiration.’ So says Janine Jansen, the brilliant young Dutch violinist whose first disc for Decca has taken the music world by storm. ‘For me making music is a way to express my feelings and that is why I approach every piece as freshly and spontaneously as possible. While trying to be faithful to each score, emotion and passion are very important to me in a performance. Technique has to be there, of course, but it should never be the main thing. I have always felt that a concert performed with deep engagement of the artist, even with some risk, and a wrong note played but with the right intention, is much to be preferred than the right note performed with no soul.’
There’s not much chance of soul lacking in a Janine Jansen performance, however. After she performed the Tchaikovsky Concerto with conductor Vladimir Ashkenazy, he said, ‘I think she is one of the most wonderful and harmonious talents I have come across in the last couple of decades. In my opinion this young woman has everything – complete mastery of the instrument, warmth and understanding, and an uninhibited power of communication.’ And in The Guardian Tom Service wrote of the same performance, ‘Her complete command of the technical difficulties of the score was matched by her musical insight.’
For her latest disc, Janine Jansen turns her attention to one of the most popular works ever written for the violin: The Four Seasons by Vivaldi. But, in typical Jansen fashion, she has approached the performance in a fresh and intriguing new way. Usually the work is accompanied by a full size string orchestra, but Jansen has chosen to perform it in single orchestration - solo strings plus harpsichord, organ and theorbo - and she’s very enthusiastic about the result. ‘It feels fantastic to do it this way because it creates a wonderfully transparent sound,’ she says, ‘and it allows the musicians to be very flexible in colouring, dynamics and timing.’ The disc is also notable for the inclusion of a triptych of concertos by Vivaldi which are rarely heard together, and which have never been recorded as a group: Il sospetto (suspicion), L’inquietudine (anxiety) and Il riposo (rest.)
Why did she choose this approach? ‘It all started with an experiment I tried a few years ago. I began playing the Bach concertos with reduced orchestra, to see what it would sound like – and I found it worked extremely well. So I decided to give it a go with Vivaldi as well, and last year I toured the Netherlands playing The Four Seasons with solo accompaniment. The response from the public was fantastic, and it all gave me such a good feeling that I was keen to make a recording of it.’
The recording took place in Amsterdam in June 2004 at the Beurs van Berlage hall, a venue with special associations for Jansen. ‘I used to play there when I was studying at the Conservatory of Utrecht,’ she says. ‘So I really knew the acoustic of the hall well. Some people were a bit surprised at the choice as not many recordings have been made there, but it’s a wonderful, generous sound and I think it was perfect for what I was trying to do. And the Decca balance engineer Philip Siney did a fantastic job.’
The recording sessions were also a lot of fun. ‘Of course I thought long and hard about getting the right people to play in such a small ensemble, since I knew it had to be the right mix. The result is a superb group of players that includes my brother Maarten on the cello, and my father Jan on harpsichord. The recording itself was very intense, but very enjoyable too.’
Her father and brother aren’t the only musical members of Jansen’s family: her grandfather is a choirmaster and her uncle and mother are singers. With this background it’s hardly surprising that Janine began to show great promise at her chosen instrument from a very early age. She started having lessons at six, made her debut with the Netherlands Radio Symphony Orchestra when she was just 14, and since then she has performed all over the globe with some of the world’s greatest conductors and orchestras. And as if this weren’t enough, in 2003 she also founded her own chamber music festival in Utrecht.
It’s interesting to note that many of Jansen’s family are specialists in baroque music and authentic performance practice. ‘It was a huge part of my childhood,’ she recalls, ‘and I love listening to authentic performances of the baroque repertoire. But I also love my modern bow!’ On this recording she uses modern concert pitch and a modern bow, but period practice has influenced her style. ‘I love the style of performing of Ton Koopman and Frans Brüggen for example, but not necessarily on period instruments. I enjoy the freedom that the baroque style offers the performer, for example to improvise certain parts of the ornamentation. In the end it's just a question of taste: I try to find my own way of playing of this wonderfully rewarding music.’
Had she listened to a lot of recordings of The Four Seasons? ‘Yes, but I haven’t listened to anything for quite a while. I wanted to approach the piece with a clean slate, and not be too influenced by other people.’ And was she worried about tackling one of the most often-recorded pieces of music on the planet? ‘No, not really. If you start worrying about that, and what other people are doing, then it stops being music. I’m so grateful to be given the chance to record this wonderful piece.’
Does she enjoy recording? ‘Yes, I do – I find it very rewarding. But it’s also difficult. When you think that a moment of time will be held forever it can be scary. But the recording producer [Dominic Fyfe] was very helpful, and gave us lots of chances to do complete performances in whole takes. That way you can preserve the energy of the piece.’
Perhaps unsurprisingly for someone who has pared her Vivaldi orchestra down to solo string textures, chamber music plays an important role in Jansen’s life. ‘It’s such a big part of what I love,’ she says, ‘and such a big part of my life.’ In December 2003 she decided to set up her own international chamber music festival, a four-day affair in between Christmas and New Year, in Utrecht. She attracted musicians like cellist Mischa Maisky, pianist Itamar Golan and violinist Julian Rachlin (who plays viola on this Vivaldi recording). The whole festival was an enormous success, and there are plans to make it an annual event.
‘I believe Janine Jansen will soon be important on an international level,’ said Valery Gergiev in 2003 after conducting a concerto performance by Jansen. It seems his prophecy has come true sooner than even he could have expected.
专辑曲目:
ANTONIO VIVALDI (1678-1741)
"La primavera". RV269 (Spring)
1) 1. Allegro
2) 2. Largo
3) 3. Allegro
"L’estate", RV315 (Summer)
4) 1. Allegro non molto
5) 2. Adagio - Presto
6) 3. Presto
"L'autunno" RV293 (Autumn)
7) 1. Allegro
8) 2. Adagio molto
9) 3. Allegro
"L’inverno", RV297 (Winter)
10) 1. Allegro non molto
11) 2. Largo
12) 3. Allegro
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