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【纯音乐】最受欢迎的 浪漫古典吉他——Romantic Guitar Favourites【FLAC /整轨/百度网盘】

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[纯音乐] 【纯音乐】最受欢迎的 浪漫古典吉他——Romantic Guitar Favourites【FLAC /整轨/百度网盘】

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 楼主| 发表于 2018-4-15 15:41:50 | 显示全部楼层 |阅读模式 |


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本帖最后由 lyzml63 于 2018-4-15 15:43 编辑


专辑英文名: RomanticGuitar Favourites

专辑中文名: 最受欢迎的浪漫古典吉他

艺术家: Gerald Garcia

古典类型: 全集作品

资源格式: FLAC

发行时间: 1992年07月10日

地区: 美国

语言: 英语

简介:

003.jpg

专辑介绍:

Gerald Garcia (1962 - , 香港)

谢嘉齐出生於香港,在英皇佐治五世学校完成中二课程后,即於1962年前往英国累斯特城继续进修。之后进入牛津大学攻读化学,一九七一年穫颁荣誉学位。谢嘉齐在牛津大学时即随约翰威廉士 (John Williams) 学琴,随后也和比贝里昂Gilbert Biberian、布劳尔Leo Brouwer等学琴。

1979年谢嘉齐在伦敦维格摩音乐厅(Wigmall Hall)演出后,被乐界讚誉为:「一位用自己的音乐直接与观眾产生水乳交融情感的音乐家」,威廉士更讚赏谢嘉齐为:「不仅是世界出色的吉他家……如果您想欣赏最优秀的吉他演奏,请将谢嘉齐列为首选」。

谢嘉齐曾多次与著名吉他家如约翰威廉士、帕哥贝纳(Paco Pena)合奏,更与伦敦室内乐团、长笛家克里夫康威、牛津圣乐团、香港交响乐团合作演出。

谢嘉齐在编曲、弹奏及吉他教授方面才华出眾。对吉他创作和编曲的贡献,使他成为目前最杰出的音乐家。谢嘉齐灌录有13张CD唱片,其中一张「阿拉木汗」是由他改编与西崎崇子小提琴合奏的中国台湾民谣精华。

享誉乐坛的华裔吉他演奏谢嘉齐(Gerald Gareia),香港出生,在英国牛津大学完成高等教育,主修化学。虽然所学非音乐,却以音乐为终生职业,可说是极富传奇色彩的一位吉他演奏家。当今欧洲乐坛里,吉他演奏家辈出,纵横驰骋,谢家齐能脱颖而出,证明了他那独特的音乐理念与细腻的风格。

谢家齐是吉他王子约翰威廉士(J. Williams)的入室子弟子之一,深获大师讚赏。在音乐处理方面,谢嘉齐能兼顾理性与感情,因此,他的音乐能以丰富且晶萤剔透的音色,流畅而不造作的旋律,给人一种热情洋溢,又不过份甜美的感觉,这也许正是他能驰骋欧洲乐坛的原因之一。此外,谢家齐也致力推展中国音乐,并曾与日本小提琴家西崎崇子(Takako Nishizaki)精选国乐曲目中,适合吉他与小提琴特性的曲子,改编为吉他与小提琴二重奏,并灌录了一张专辑(踏雪寻梅),深受港台两地各界人士推崇。


Release Date 1992
Duration 01:07:49

Genres: Classical, Music
Released: 10 July 1992
℗ 1992 Naxos

Original Release Date: July 10, 1992
Label: Naxos
Copyright: © 1992 Naxos
Total Length: 1:07:50
Genres: Classical
ASIN: B000QQPN1O

Lovely
By David Saemann VINE VOICE on February 13, 2008
Format: Audio CD
Gerald Garcia has made an estimable series of CDs for Naxos, and this one is noexception. He has a beautiful sound for Romantic guitar music. His tone islarge, his passage work never becomes coarse or astringent, and his overallconceptions are lush sounding and warm. The Mendelssohn and Schuberttranscriptions are preformed with a great deal of delicacy, almost dreamy. Thetwo Paganini Caprices are brilliant display pieces that Garcia dispatches withstyle and ease. As for the Paganini Sonata, it is an engrossing work thatGarcia never lets sound heavy. Add a full spectrumed sound engineering picture,and you have a very appealing album.
Comment Was this review helpful to you? Yes No
2 of 3 people found the following review helpful
Beautifully recorded
By Leslie Richford on April 24, 2005
Format: Audio CD
This beautifully studio-recorded disc from 1989 was, if I am correctly infomed,Gerald Garcia’s fifth CDfor Naxos (following on from “Concierto de Aranjuez”, “Brazilian Portrait”, “Latin American Guitar Festival” and “Baroque Guitar Favourites”). It contains some of the “prettiest” music for classical guitar that I have ever heard, although Ishould add in the same breath that there is, in fact, no music for classicalguitar at all on the disc – all the pieces hererecorded are transcriptions of music for violin solo (Paganini’s Caprices), for violin and guitar (Paganini’s Grand Sonata), for piano (Mendelssohn’sSongs Without Words) and for voice and piano (Schubert’sLieder). The Paganini and Mendelssohn appear to have been transcribed by Garciahimself, whereas the Schubert was congenially adapted for the instrument byJohann Kaspar Mertz, a 19th century Bohemian guitarist. The title of the CD, “Romantic Guitar Favourites”, is therefore acomplete misnomer, but that in no way affects the enjoyment to be had fromlistening to what, to my non-expert ears at any rate, is some excellentguitar-playing in first-rate audio quality. The notes, written by Gerald Garciahimself, are brief but informative.



引用

Visiting artist on 13 March 2014

Gerald Garcia: Know your body, avoid injury


Gerald Garcia is great company: he is a delightful blend of the knowledgeable,fun, insightful and energetic, as is reflected in his renowned compositions andconcerts, his participation in musical events from east to west across theglobe, his membership of the famous Mandolinquents, his blog, and thefascinating life he leads among people of music and science.


It was for a concert with the Mandolinquents at the British Banjo Mandolin& Guitar Festival that Gerald was in town this month, and we were fortunatelyable to grab him to spend the evening with us at the Brunswick.


The richness of Gerald\'s professional experience and cultural background allowshim a very broad and multi-faceted view of musicianship. He is inspired by, andequally illuminating regarding, any area of the guitar, be it the details ofsoprano guitar construction, the phenomenon of the Chinese child prodigy, theSouth American charango, or the anatomy of John Williams\' hands, and it mayalso be what makes him such an original thinker.


Gerald talks to us this evening about the physicality of playing the guitar.Again he is well placed to do so by personal experience - this time of aserious physical condition, Focal Dystonia, which has ended the career of morethan one concert artist (Nicola Hall among others), and of his application ofthe Alexander Technique and Tai Chi in resolving it.


Focal dystonia is a strange mental-physical ailment that affects musicians. Itis an alarming and debilitating condition affecting the ability to perform andis seemingly triggered by repeated practice of sets of unnatural movements,such as the fast alternating strokes of the fingers on the strings of theguitar, that go against the natural mechanical design of the body itself.


The results can be extreme. Gerald cited the case of a pianist who wasprevented from playing at all, simply falling forward over the keys whenevershe sat at the piano on, very specifically, a piano stool. Such was her mindand body\'s rebellion against the thousands of hours of unnatural conditioningit had been subjected to that the touch of the piano stool triggered asubconscious \'refusal\' to perform that the person herself was powerless toovercome consciously. Astonishingly, the provision of any other seat or chair curedthe problem instantly. Gerald\'s case was not so spectacular, but certainly wascause for concern and worry at the time (see link to his article below).


For guitarists, the key idea arising from Gerald\'s reflections is that guitarplaying must be fitted with how the body is designed naturally to move and work- not the other way round, where the body is reined in awkwardly to the shapeof the instrument. A happy medium is very much achievable with a littleawareness.


The question of playing posture is not new among guitarists - back problems,optimal wrist positions, types of foot stool, etc. are constantly discussed -but Gerald gave us a new, fine-grained view of physical awareness, transferredto musicianship from yoga and tai-chi. After sharing his personal experience hegave us our own opportunity to understand how the body operates, as differentfrom how we imagine it to operate or try to train it to operate. The next 15minutes were amusing and enlightening. The exercises Gerald had us do includedvery-very slow curling and uncurling of each finger, one joint at a time;identifying the axis above the ears around which the head moves when we nod,the apparent length of a finger when viewed from the palm side versus the fromback, and the line that continues along the ulna of the forearm through to theend the little finger; the shape of the spine. This mechanical investigationmust be unhurried; it must feel easy and slow. The simplest finger-curlingexercises made a big difference to Gerald\'s own playing by \'re-connecting\' himto his hands. We should watch ourselves in the mirror, practise the guitar infront of a mirror, or ask a friend to comment on how we move.


For many this is a surprising, new area for consideration, and one whichcertainly promises much reward for time invested.


Our sincere thanks to Gerald for a genuine raising of our awareness and for ahugely interesting and entertaining evening.


0031.jpg

0032.jpg
专辑曲目:

Paganini,Nicolo
24 Caprices, Op. 1: No. 9 in E Major (arr. for guitar)
01. 24 Caprices, Op. 1: No. 9 in E Major (arr. for guitar) 00:04:39

Mendelssohn, Felix
Song without Words, Op. 19, No. 6, \"Venetian Boat Song I\"
02. Song without Words, Op. 19, No. 6, Venetian Boat Song I 00:02:19
03. Song without Words, Op. 19, No. 4 00:02:04
Song without Words, Op. 53, No. 4
04. Song without Words, Op. 53, No. 4 00:02:40
Song without Words, Op. 85, No. 2
05. Song without Words, Op. 85, No. 2 00:01:31
Song without Words, Op. 62, No. 4
06. Song without Words, Op. 62, No. 4 00:01:26
Song without Words, Op. 30, No. 6, \"Venetian Boat Song II\"
07. Song without Words, Op. 30, No. 6, Venetian Boat Song II 00:03:46

Paganini, Nicolo
Grand Sonata
08. I. Allegro risoluto 00:10:10
09. II. Romanza 00:04:09
10. III. Andantino Variato 00:09:08

24 Caprices, Op. 1: No. 1 in E Major (arr. for guitar)
11. 24 Caprices, Op. 1: No. 1 in E Major (arr. for guitar) 00:07:17

Schubert, Franz
Mertz, Johann Kaspar, arranger(s)
Lob der Tranen (Praise of Tears), D. 711 (arr. J. K. Mertz)
12. Lob der Tranen (Praise of Tears), D. 711 (arr. J. K. Mertz) 00:03:26

Schwanengesang, D. 957: No. 1. Liebesbotschaft (Love\'s Messenger) (arr. J. K.Mertz)
13. Schwanengesang, D. 957: No. 1. Liebesbotschaft (Love\'s Messenger) (arr. J.K. Mertz) 00:03:37
14. Schwanengesang, D. 957: No. 4. Standchen (Leise flehen meine Lieder) (arr.J. K. Mertz) 00:03:41
15. Schwanengesang, D. 957: No. 5. Aufenthalt (Delay) (arr. J. K. Mertz)00:03:17
16. Schwanengesang, D. 957: No. 10. Das Fischermadchen (arr. J. K. Mertz)00:02:09

Winterreise, Op. 89, D. 911: No. 13. Die Post (arr. J. K. Mertz)
17. Winterreise, Op. 89, D. 911: No. 13. Die Post (arr. J. K. Mertz) 00:02:31

Total Playing Time: 01:07:50


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