23-伦敦交响乐团与亚伦·科普兰 - 《科普兰第三交响曲》（2013年）Hi-Res
艺术家：伦敦交响乐团与亚伦·科普兰、伦敦交响乐团、亚伦·科普兰
专辑名称：《科普兰：第三交响曲》
发行年份：1959年 / 2013年
厂牌：珠穆朗玛唱片公司（Everest Records）
音乐类型：古典音乐
音质：分轨FLAC格式（含小册子）
总时长：40分19秒
总大小：1.44吉字节
网站：专辑预览
曲目列表
亚伦·科普兰（1900-1990）
《第三交响曲》
1. 第一乐章，十分中板（09:31）
2. 第二乐章，很快的快板（08:14）
3. 第三乐章，近似小快板的小行板（09:55）
4. 第四乐章，十分从容的（号角齐鸣）—— 坚定的快板（12:40）
在美国音乐界，很少有人能像亚伦·科普兰那样具有如此重大的影响力。作为20世纪20年代首批前往巴黎的文学和音乐界侨民之一，科普兰回到美国后，在接下来的半个世纪里，以作曲家、推广者和教育家的身份，在美国音乐领域占据了核心地位。科普兰极高的知名度和标志性地位，使得他的音乐超越了音乐厅的范畴，进入了大众的意识之中；他的作品既在世界各地的庄严和欢乐庆典中奏响（如《普通人的号角》），也为数以百万计的电视观众在熟悉的广告语 “牛肉：这就是晚餐该吃的！”（配合《牧场竞技》）中起到了点睛之笔。
科普兰是哈里斯和莎拉·科普兰五个孩子中最小的一个，他的父母是立陶宛犹太移民，在布鲁克林经营着一家百货商店。他直到13岁才开始接受正规的钢琴课程，而那时他也已经开始创作一些小作品了。科普兰没有上大学，而是跟随鲁宾·戈德马克学习理论与作曲，跟随维克多·维特根斯坦和克拉伦斯·阿德勒学习钢琴，并且尽可能多地去听音乐会、看歌剧和芭蕾舞剧。1921年，他前往法国枫丹白露，在美国音乐学院学习指挥和作曲课程。之后他又在巴黎跟随里卡多·维涅斯和娜迪亚·布朗热学习，并在接下来的三年里尽情吸收各种新旧欧洲文化。他不仅对斯特拉文斯基、米约、福雷和马勒等作曲家的作品赞赏有加，还欣赏诸如作家安德烈·纪德等其他领域的人物。布朗热与库塞维茨基一起演奏了科普兰1924年创作的《管风琴交响曲》，这开启了这位指挥家与作曲家之间的友谊，也使得科普兰从1940年到1965年期间在伯克希尔音乐中心（坦格伍德）任教。
回到美国后，科普兰逐渐形成了一种尖锐、朴素的风格，这种风格捕捉到了处于大萧条时期、饱经创伤的美国的某种冷峻特质。这一时期最具代表性的作品——《钢琴变奏曲》（1930年）——至今仍是这位作曲家的开创性作品之一。他试图避免在大学任职，而是为期刊和报纸写作，组织音乐会，并承担作曲家组织的行政工作，努力推广美国音乐。到了20世纪30年代中期，科普兰将与观众的直接接触和沟通作为自己的核心原则之一，他的作品（与维吉尔·汤姆森和罗伊·哈里斯等其他作曲家的作品同步发展）形成了一种 “美国风格”，其特点是受到民间音乐的影响、在旋律和和声上呈现出新的简洁性，以及一种没有故作高深的、极具吸引力的直接性。这在科普兰这一时期的芭蕾舞剧作品中体现得最为明显，也最终为他赢得了广大公众的尊重。虽然从20世纪50年代中期开始，科普兰的创作逐渐减少，但他继续尝试和探索音乐表达的 “新” 方式，包括在《钢琴幻想曲》和为管弦乐队创作的《内涵》等作品中极具个人特色地运用十二音体系原则。尽管如此，科普兰音乐语言中基本的抒情本质依然保持不变，并且偶尔会以一种常常令人惊讶的怀旧氛围出现在一些作品中，比如长笛与钢琴二重奏（1971年）。他继续教学和写作，并在国内外获得了无数奖项。1958年，他开始在世界各地指挥管弦乐队，在接下来的20年里，他不仅演奏自己的作品，还演奏其他80位作曲家的作品。到了20世纪70年代中期，科普兰实际上已经停止了创作。他最后的创作成果之一是完成了两卷本的自传（与音乐学家维维安·珀利斯合作完成），这是了解20世纪美国音乐发展的重要文献。~ 罗维编辑团队
Artist: London Symphony Orchestra & Aaron Copland, London Symphony Orchestra, Aaron Copland
Title: Copland: Symphony No. 3
Year Of Release: 1959 / 2013
Label: Everest Records
Genre: Classical
Quality: FLAC (tracks, booklet)
Total Time: 40:19
Total Size: 1.44 GB
WebSite: Album Preview
Tracklist:
Aaron Copland (1900-90)
Symphony No. 3
1 I. Molto moderato (09:31)
2 II. Allegro molto (08:14)
3 III. Andantino quasi allegretto (09:55)
4 IV. Molto deliberato (Fanfare) – Allegro risoluto (12:40)
Few figures in American music loom as large as Aaron Copland. As one of the first wave of literary and musical expatriates in Paris during the 1920s, Copland returned to the United States with the means to assume, for the next half century, a central role in American music as composer, promoter, and educator. Copland's sheer popularity and iconic status are such that his music has transcended the concert hall and entered the popular consciousness; it both accompanies solemn and joyous celebrations the world over (Fanfare for the Common Man) and punctuated the familiar words "Beef: It's What's for Dinner!" (Rodeo) for millions of television viewers.
Copland was the youngest of five children born to Harris and Sarah Copland, Lithuanian Jewish immigrants who owned a department store in Brooklyn. He did not take formal piano lessons until he was 13, by which time he had also begun writing small pieces. Instead of attending college, Copland studied theory and composition with Rubin Goldmark and piano with Victor Wittgenstein and Clarence Adler, and attended as many concerts, operas, and ballets as possible. In 1921, he went to Fontainebleau, France, taking conducting and composition classes at the American Conservatory. He went on to study in Paris with Ricardo Viñes and Nadia Boulanger and spent the next three years soaking up all the European culture, both new and old, that he could. He learned to admire not only composers like Stravinsky, Milhaud, Fauré, and Mahler, but others such as author André Gide. Boulanger's performance of Copland's 1924 Organ Symphony with Koussevitzky was the beginning of a friendship between the conductor and composer that led to Copland teaching at the Berkshire Music Center (Tanglewood) from 1940 until 1965.
After his return to America, Copland drifted toward an incisive, austere style that captured something of the sobriety of Depression-torn America. The most representative work of this period -- the Piano Variations (1930) -- remains one of the composer's seminal efforts. He tried to avoid taking a university position, instead writing for journals and newspapers, organizing concerts, and taking on administrative duties for composers' organizations, trying to promote American music. By the mid-1930s, taking the direct engagement of and communication with audiences as one of his central tenets, Copland's compositions developed (in parallel with other composers like Virgil Thomson and Roy Harris) an "American" style marked by folk influences, a new melodic and harmonic simplicity, and an appealing directness free from intellectual pretension. This is nowhere more in evidence than in Copland's ballets of this period, and it finally earned him the respect of the general public. While Copland gradually became less prolific from the mid-1950s on, he continued to experiment and explore "fresh" means of musical expression, including a highly individual adoption of 12-tone principles in works like the Piano Fantasy and Connotations for orchestra. Still, the fundamentally lyrical nature of Copland's language remained intact and occasionally emerged -- with an often surprising retrospective air -- in works like the Duo for flute and piano (1971). He continued to teach and write and received numerous awards both in America and abroad. In 1958, he began conducting orchestras around the world, performing works by 80 other composers as well as his own over the next 20 years. By the mid-'70s, Copland had for all intents and purposes ceased composing. One of the last of his creative accomplishments was the completion of his two-volume autobiography (with musicologist Vivian Perlis), an essential document in understanding the growth of American music in the 20th century. ~ Rovi Staff
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