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簡(jiǎn)介:
專輯介紹:
Rachel Barton Pine 瑞秋．巴頓．派恩 1974年生於美國(guó)芝加哥，三歲半開(kāi)始學(xué)琴，七歲就登臺(tái)，十歲與芝加哥交響樂(lè)團(tuán)合奏，可以說(shuō)是資賦優(yōu)異的神童。 在家就學(xué)，每天練琴八個(gè)小時(shí)。
家里并不富裕，十四歲開(kāi)始，不得不在一些婚禮場(chǎng)合或是樂(lè)團(tuán)演奏以貼補(bǔ)家用。十七歲(1992)以最年輕及第一位美國(guó)人的身份贏得巴赫國(guó)際大賽的首獎(jiǎng)及Jozsef Szigeti Violin Competition第二獎(jiǎng)，還有國(guó)際克萊斯勒大賽的首獎(jiǎng)。
1995年1月16日瑞秋在芝加哥搭地鐵時(shí)，背在肩膀的琴盒被門(mén)夾住，被捲入366英呎遠(yuǎn)的輪下，經(jīng)急救后，雙腿截肢。 之后她控告芝加哥西北鐵路公司要求賠償，對(duì)方認(rèn)為瑞秋是為了保護(hù)價(jià)值五十萬(wàn)美金的阿瑪?shù)倜俣軅?，所以?yīng)該負(fù)擔(dān)大部分的責(zé)任。不過(guò)，陪審團(tuán)顯然并不這么認(rèn)為。 經(jīng)過(guò)年的休養(yǎng)，瑞秋重返樂(lè)壇。 2001年利用鐵路公司的賠償金，成立了以自己的名字為名的基金會(huì)。
藝人 Rachel Barton Pine
發(fā)行月份 2016-Apr
類型 古典音樂(lè)
【國(guó)際樂(lè)訊】小提琴家 Rachel Barton-Pine 睡在機(jī)場(chǎng)大廳抗議航空公司不讓她帶小提琴上機(jī)
幾天前，小提琴家 Rachel Barton-Pine跟家人要從鳳凰城的天港 Sky Harbor 機(jī)場(chǎng)飛往芝加哥，卻被US Airway 航空阻攔說(shuō)，她的1742 年耶穌瓜奈里 ‘Soldat’ 名琴，因?yàn)槌^(guò)尺寸不得放在客艙內(nèi)的頭頂行李箱，客艙也找不到其他空間，要求她寄入貨艙或是等下班飛機(jī)。她很生氣地跟WQXR電臺(tái)表示：「明明就還有空間的，其他旅客的包包挪動(dòng)一下就可以，這就是很簡(jiǎn)單的重新放行李的事情而已啊，不過(guò)他們還是不讓我放?！棺詈笏x擇跟家人搭下一班飛機(jī)，不過(guò)衣物等行李仍在原班機(jī)上先飛回芝加哥了。在等待下一班早班飛機(jī)的時(shí)間中，她索性就跟四歲女兒躺在機(jī)場(chǎng)航廈候機(jī)大廳睡覺(jué)。
耶穌瓜奈里 ‘Soldat’ 名琴，保守估計(jì)市值一億五千萬(wàn)臺(tái)幣以上，1742年更是耶穌瓜奈里的制琴黃金年代，同期作品最高已有六億臺(tái)幣身價(jià)，屬於人類極稀有文化資產(chǎn)，也是音樂(lè)家職業(yè)生涯的謀生工具和第二生命，想當(dāng)然爾「琴在人在」的音樂(lè)家一定是極盡生命在保護(hù)。
1995年，Pine在伊利諾州郊區(qū) Winnetka 車站下火車時(shí)，當(dāng)時(shí)車門(mén)安全科技尚未有感應(yīng)器，意外夾住她肩上琴盒的背帶(琴盒內(nèi)的是Amati 名琴)，在被人救下前火車夾住她的左肩拖行了366英尺，造成她雙腳部分截肢。雖然最后在訴訟上告贏 Metra 和芝加哥西北鐵路，但這期間的療程跟花費(fèi)，對(duì)她的職業(yè)生涯有著很大的影響，想必她在搭乘交通工具上的態(tài)度也是格外小心。
根據(jù) US Airway的規(guī)定，帶上機(jī)的樂(lè)器，必須合乎行李箱尺寸規(guī)定，機(jī)組人員會(huì)盡力為乘客尋找合適的空間擺放，但以不挪動(dòng)其他乘客已擺好的行李為原則。
連結(jié)為Rachel Barton-Pine 演奏自己改編的炫技版生日快樂(lè)變奏曲
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.
專輯曲目:
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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