Hommage 致敬 Matthias Bartolomey Ariane Haering 大提琴 钢琴 室内乐 FLAC 96kHz/24bit Gramola 维也纳古典 本真演绎 发烧天碟

《Hommage》(FLAC 96kHz/24bit) 是奥地利大提琴家 Matthias Bartolomey 与瑞士钢琴家 Ariane Haering 联袂呈现的致敬之作，由Gramola 唱片公司于 2025 年发行，收录多首专为大提琴与钢琴而作的经典致敬曲目，涵盖古典至浪漫主义时期的音乐瑰宝，以 “致敬音乐传统与大师精神” 为核心，被誉为 “大提琴与钢琴室内乐的深情对话”，是古典室内乐迷与无损音频发烧友的理想之选。

核心亮点在于 “维也纳音乐血脉与瑞士钢琴精魂的完美融合”：Matthias Bartolomey 出身维也纳音乐世家，父亲与祖辈均为维也纳爱乐乐团成员，他以温暖醇厚、情感深邃的大提琴演绎，精准捕捉每首致敬曲目的精神内核，Ariane Haering 则以细腻灵动、层次分明的钢琴伴奏呼应，二者配合默契如行云流水，尤其在舒曼《梦幻曲》改编版与勃拉姆斯《匈牙利舞曲》中，大提琴的深沉与钢琴的明亮形成鲜明对比，情感真挚而富有感染力，被誉为 “致敬传统的典范演绎”。FLAC 96kHz/24bit 编码精准捕捉大提琴的木质共鸣与钢琴的清澈泛音，低频沉稳扎实，中频饱满通透，高频细腻明亮，动态范围宽广，背景纯净无杂讯，完美还原原始录音的空间感与情感张力，让经典致敬曲目焕发全新生命力。

作为古典室内乐的深情之作，专辑以 “致敬” 为核心，FLAC 高规格完整保留乐器的细微颤音与二重奏的对话感，既满足古典乐迷对经典曲目的收藏需求，又以顶级无损规格成为音响发烧友测试系统乐器定位、动态表现与音色还原能力的理想测试碟，是 Matthias Bartolomey 粉丝、Ariane Haering 追随者、古典室内乐爱好者与无损音频发烧友的必藏之作，更见证了维也纳古典传统与瑞士钢琴艺术的完美交融，为致敬类室内乐录音树立全新标杆。

Hommage
Matthias Bartolomey | Ariane Haering

FLAC|96kHz/24bit
专辑价格: ¥
专辑下载
规格: 07 首
流派: 古典乐
类别: 其他
发布: 2026-01-06
公司: Supreme Classics
简介

1. Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo
2. Cello Sonata No. 1 in E Minor, Op. 38: II. Allegretto quasi menuetto
3. Cello Sonata No. 1 in E Minor, Op. 38: III. Allegro
4. Cello Sonata in F Major, Op. 6, TrV 115: I. Allegro con brio
5. Cello Sonata in F Major, Op. 6, TrV 115: II. Andante ma non troppo
6. Cello Sonata in F Major, Op. 6, TrV 115: III. Allegro vivo
7. 6 Moments musicaux, Op. 94, D. 780: No. 3, Allegro moderato (Arr. for Cello & Piano by Matthias Bartolomey)

In February 2001, Franz Bartolomey, principal cellist of the Vienna Philharmonic Orchestra, recorded Johannes Brahms’ famous First Sonata for Cello and Piano, Op. 38 in E minor, and an early work, Richard Strauss’ Sonata in F major, in the Grand Broadcasting Hall of the RadioKulturhaus. Twenty-five years later, two years after his father’s death, his son, cellist Matthias Bartolomey, together with pianist Ariane Haering, now presents the album Hommage with the same programme, supplemented by an arrangement of Schubert’s Moment Musical, Op. 3.

For Matthias Bartolomey, his father’s recording, and in particular his interpretation, marks an extremely formative period in his musical career. The sonatas by Brahms and Strauss were part of the soundscape of Matthias’s childhood home from his earliest youth. Similar to Richard Strauss’s ‘Don Quixote’, he knew every note, every phrasing and every portamento of his father’s playing by heart. Hommage was also recorded in the Great Broadcasting Hall of the RadioKulturhaus and raises essential questions that transcend generations between father and son. Where does one end and the other begin? What separates them? What unites them?