Description
Cello Favorites - János Starker / 史塔克大提琴輯最愛 / UltraAnalog CD AAD
UPC 9787884818976
Product Details
- Label: ABC (INTL) Records
- Format: UltraAnalog CD, Limited Edition
- Country: Made in Germany
- Released: 2020
- Genre: Classical, Cello
- Mastering: Original Analog Master Tape
- Material: 6N Pure Silver Coating
- High Definition: 99.9999% Silver Disc, High Definition Mastering CD
Overview
"Cello Favorites" features the iconic cellist János Starker, known for his refined technique and expressive interpretations. This limited edition UltraAnalog CD was created using the original analog master tapes and processed with ABC's proprietary UltraAnalog CD™ technology, ensuring that the music retains its full emotional depth and musical details. The 6N pure silver coating enhances sound clarity, providing an audiophile-grade experience that faithfully reproduces the original recordings. Accompanied by pianists Shuku Iwasaki and Shigeo Neriki, Starker's performance reaches new heights in this extraordinary collection.
Track Listing
- Hora Staccato
- Variations on a Theme of Rossini
- Zigeunerweisen, Op. 20
- Traumerei, Op. 15
- The Swan
- Sicilienne, Op. 78
- Variations on a Theme of Paganini
- Silent Woods, Op. 68
- Pampena No. 2
- Intermezzo from Goyescas
- Elegie
- Moses Fantasy
- Après un Rêve
- The Girl with the Flaxen Hair
Key Credits
- Cello: János Starker
- Piano: Shuku Iwasaki, Shigeo Neriki
- Mastering: UltraAnalog CD™ Technology by ABC Studio
- Production: Original Analog Master Tape
Janos Starker史塔克是橫跨20、21世紀最有影響力的大提琴家之一，絕無疑問。他不但技巧超群，也是受敬重的教師。他對音樂有敏銳的洞察力，而且他更善于把自己的感覺傳遞給聽衆。史塔克從事大提琴演奏已超過65年，由于其內斂、沈穩、大方與忠實的演奏風格，被譽自阿爾薩斯以後「20世紀最偉大的大提琴家」。幾乎所有他的錄音都成爲經典、成爲後來者的典範。史塔克有高人的技巧，追求質樸、剛勁的演奏。論者說單是研究他的揉弦，已可作一獨立課題，可見其功力之深厚。
作爲音樂史上少見的大提琴神童，史塔克六歲就學大提琴，十一歲就在李斯特音樂院舉行獨奏會，八歲就開始教其他小朋友拉奏大提琴，十四歲就上臺演奏德弗札克大提琴協奏曲，這樣早熟，日後史塔克却花了比其他同行更多的時間在精進技巧，其程度到了讓許多不演奏大提琴的人都無法理解的程度。像他非常用心地練出一套如何在指板上移動而不會發出手指與琴弦摩擦聲音的方法，這是其他大提琴家都不在意的雜音，但史塔克追求完美的精神却到了這種地步，這讓他的演奏音色如同雕鑿到完美的鑽石一樣無瑕圓潤，却有時被人批評爲沒人性。也因為他的技巧這麼完美，讓他可以儘量減少揉音，而不像其他同行要靠揉音來掩蓋音色不美的問題，但這也造成有人認為他的音色太過乾澀。但他却能够爲每個樂句都構思出不同而具有個性和故事性的音色與句形，所下功夫之深，不是只讓手中的樂器吟唱優美而已，史塔克還考慮到結構和時代問題，進而賦予他演奏時對于音色的選擇與弓法的使用。而史塔克這種嚴謹的態度，正好避免揉音、却能多變的琴音唱和，對結構平衡而細膩的處理，讓史塔克能够理性的避免浪漫化樂曲的詮釋角度。
1998年與 《斯特拉底》雜誌訪談時，史塔克被問到關于人們形容他“冷冽”的演奏方式，他說：「我覺得自己演出所發出的聲音是非常的專注且集中，這也代表我的抖音恰到好處；人們總是批評我演奏時像機器人般不動，但事實上，律動在我的演出中是一直存在著，我隨著樂句而舞，只是很少人能察覺出來」。史塔克同時也對大提琴的音色發表了他的看法：「大提琴的音色之所以非常豐富是因爲它包含了從低音到高音－非常廣的音域，所以我嘗試在演奏時將最大的聲音變化性展現出來。我認爲大提琴的音色不單只是大提琴本身而已，它可以聽起來像是人聲，也可以是不同管弦樂器所發出來的聲響」。
Janos Starker is undoubtedly one of the most influential cellists of the 20th and 21st centuries. He was not only a virtuoso, but also a respected teacher. He has a keen eye for music, and he is more than capable of communicating his feelings to his audience. Stark has been playing the cello for over 65 years and has been called "the greatest cellist of the 20th century" since Althaus because of his restrained, steady, generous and faithful playing style. Almost all of his recordings have become classics and models for future generations. Stark had a virtuoso technique and sought to play with simplicity and intensity. Commentators have said that the study of his vibrato alone could be an independent subject, which shows the depth of his skills.
As a rare cello prodigy in the history of music, Stark learned the cello at the age of six, gave a recital at the Liszt Conservatory at the age of eleven, began to teach other children to play the cello at the age of eight, and went on stage at the age of fourteen to play the De Vozak Cello Concerto, so precocious, and then Stark spent more time than other peers in refining his technique, to the extent that many people who do not play the cello can not understand the extent. The cello is a very important part of his repertoire. For example, he has painstakingly developed a method of moving his fingers across the fingerboard without sounding like a finger rubbing against the strings, a noise that other cellists don't care about, but Stark's dedication to perfection is so great that it makes his playing sound as flawless and round as a perfectly carved diamond, but is sometimes criticized as inhuman. Because his technique is so perfect, he is able to minimize vibrato, unlike his peers who rely on vibrato to hide their unattractive tone, which is also considered by some to be too dry.
However, he is able to conceive a different tone and phrase shape for each phrase that has its own personality and storytelling, and he does not just make the instrument sing beautifully in his hands, but he also takes into account structural and contemporary issues, which in turn gives him a choice of tone and bowing technique when he performs. Stark's rigorous attitude, avoiding vibrato, but with a variety of harmonies and a balanced and delicate approach to structure, allows Stark to rationally avoid romanticizing the interpretative perspective of the piece.
In a 1998 interview with Stradivarius magazine, Stark was asked about what people described as his "cold" playing style, and he said, "I think I play with a very focused and concentrated sound, which means that I have just the right amount of jitteriness; people criticize me for playing like a robot, but the truth is that the rhythm is always there in my performances! People always criticize me for playing like a robot, but the truth is that the rhythm is always there in my performances. I dance with the phrases, but few people realize it. Stark also commented on the timbre of the cello: "The cello has a very rich timbre because it has a very wide range from bass to treble – so I try to play with the greatest possible sonic variability. I think that the sound of the cello is not only the cello itself, it can sound like a human voice, or it can be the sound of different orchestral instruments".
