01-让·马蒂农 - 鲍罗丁第二交响曲及里姆斯基-科萨科夫《西班牙随想曲》1959年录制 2017 DSD
亚历山大·鲍罗丁 - 第二交响曲 及 尼古拉·里姆斯基-科萨科夫 - 《西班牙随想曲》——伦敦交响乐团——让·马蒂农——迪卡音乐集团有限公司（2017年发行）
双声道DSF格式（1比特/2.82兆赫兹），DSD64规格（1.77吉字节）| 来源：acoustic_sounds | 最初录制于1959年 | 动态范围12 | 含PDF文件 | 古典音乐
鲍罗丁的b小调第二交响曲耗时约6年才完成。这部作品出自一位将音乐视为业余爱好而非职业的人之手，他在被其他重要事务填满的生活中挤出时间来进行创作。亚历山大·鲍罗丁是19世纪俄罗斯的一位杰出外科医生和化学家，他撰写了许多备受赞誉的科学论文，有着诸如《苯的氟化物研究》和《醛的固化》这类与音乐毫无关联的标题。从音乐领域来看，鲍罗丁作为著名的俄罗斯“五人强力集团”的成员而载入史册，该集团的其他成员还包括巴拉基列夫、居伊、穆索尔斯基和里姆斯基-科萨科夫。鲍罗丁从1871年到1876年间断断续续地创作他的第二交响曲。他总是中途搁置手头的工作，为了创作这部交响曲，他放下了自己始终未能完成的歌剧《伊戈尔王子》。1871年，他完成了第一乐章，随后又将这部作品搁置一旁，专注于一部名为《姆拉达》的歌剧叙事诗的创作。俄罗斯歌剧院的院长盖德诺夫支持这个新项目，但由于资金困难，该项目最终未能实现。于是鲍罗丁又重新回到交响曲的创作中。
1877年2月，这部交响曲在圣彼得堡的里特尔萨尔大厅首演，由纳普拉夫尼克指挥。鲍罗丁在卧病在床时，自认为对这部作品做了最后的润色。俄罗斯评论家伊万诺夫在《新时报》上对这场首演进行了评论，他这样写道：“聆听这部音乐，你会想起古代俄罗斯骑士们，想起他们所有的笨拙之处，也想起他们所有的伟大之处。即使在抒情而温柔的段落中，也透着一种沉重感。那些宏大的形式有时会让人感到厌烦，它们压得听众喘不过气来。” 随后，鲍罗丁对这部交响曲进行了修订。1887年，纽约市的爱乐协会在安东·塞德尔的指挥下举办的一场音乐会上，人们第一次听到了这部作品。
鲍罗丁的第二交响曲是一部极具感染力的作品。文学评论家斯塔索夫，曾为这部交响曲进行过有力的辩护，他写道：“鲍罗丁自己常常告诉我，在慢板乐章中，他希望唤起人们对斯拉夫游吟诗人（巴扬）歌曲的回忆；在第一乐章中，是古代俄罗斯王公们的聚会；而在终曲中，则是英雄们的宴会，在欢呼的人群中，伴着古斯拉琴（一种类似小提琴的单弦乐器）和竹笛的声音……鲍罗丁心中萦绕着封建时期俄罗斯的景象，并试图用音乐将它描绘出来。” 1887年2月，鲍罗丁在他的出生地圣彼得堡去世。次年夏天，里姆斯基-科萨科夫正忙于为他的朋友鲍罗丁未完成的歌剧《伊戈尔王子》进行配器工作。里姆斯基-科萨科夫说：“那年夏天过半的时候，这项工作中断了。” 他自己的创作灵感让他暂时放下了鲍罗丁的作品。“我根据自己设想的以西班牙主题为素材的小提琴炫技幻想曲的草稿，创作了《西班牙随想曲》。”
里姆斯基-科萨科夫是一个有主见且毫不犹豫表达自己观点的人，对于《西班牙随想曲》，他有一些明确而有力的评价：“评论家和公众都认为《西班牙随想曲》是一部配器华丽的作品，这种观点是错误的。《西班牙随想曲》是一部为管弦乐队创作的杰出作品。音色的变化、对旋律设计和音型模式的巧妙选择，完全契合每种乐器的特点，乐器的简短炫技华彩乐段、独奏，打击乐器的节奏等等，这些构成了这部作品的精髓，而不仅仅是它的外在形式或配器。” 1887年10月31日，作曲家在圣彼得堡指挥了这部作品的首演。这部华丽的《西班牙随想曲》受到了热烈的欢迎，从那以后一直广受欢迎。它有着里姆斯基-科萨科夫这样一位前海军军人所特有的那种豪放热情。
尽管里姆斯基-科萨科夫很早就展现出了音乐天赋，但由于家庭压力和经济原因，他不得不加入俄罗斯海军。他曾跟随巴拉基列夫学习音乐，但他的家人对此并不支持。他的母亲试图让他相信，他对音乐的兴趣只是一时的爱好。结果，到21岁时，里姆斯基-科萨科夫已经成为了一名海军军官，并且有两年半的海上服役经历。他很有可能会进入海军学院接受进一步的深造。但在1865年9月，他被调往圣彼得堡。在这里，他重新与巴拉基列夫建立了友谊，并很快融入了一群才华横溢的音乐家圈子。当他的第一交响曲在巴拉基列夫的免费音乐学校的一场音乐会上演出时，当一位身着海军制服的年轻人起身向鼓掌的观众致谢时，观众们都感到十分惊讶。
里姆斯基-科萨科夫在创作具有异国情调的音乐方面的天赋，在他1899年至1900年间创作的歌剧《萨尔丹沙皇的故事》中的《进行曲》中得到了充分的展现。这部歌剧于1900年12月在莫斯科首次以歌剧形式上演。作曲家将其改编为三个乐章的管弦乐组曲，这部组曲有着奇特的经历，它在圣彼得堡首演的时间，比它所源自的歌剧在莫斯科上演的时间还要早一些。这部歌剧的故事取材于普希金的一篇童话，普希金是里姆斯基-科萨科夫非常欣赏的一位作家。V.I. 别尔斯基撰写了歌剧的脚本，作曲家认为这个脚本 “非常出色”，并在音乐上与之相得益彰。
~ 莱纳德·拉斐尔撰写的注释© 美国无线电公司，1959年
曲目：
亚历山大·鲍罗丁（1833-1887）
b小调第二交响曲
1-1. 快板 06:41
2-2. 谐谑曲：最急板 - 小快板 04:37
3-3. 行板 07:39
4-4. 终曲：快板 05:53
尼古拉·里姆斯基-科萨科夫（1844-1908）
《西班牙随想曲》，作品34号
5-1. 晨歌 01:11
6-2. 变奏曲 04:29
7-3. 晨歌 01:11
8-4. 场景与吉普赛之歌 02:29
9-5. 阿斯图里亚斯的凡丹戈舞曲 05:37
《萨尔丹沙皇的故事》
10- 进行曲 04:57
总时长：44:43
演奏者：
休·马奎尔，小提琴独奏（第5至9首曲目）
伦敦交响乐团
让·马蒂农，指挥
录制于英国金斯威大厅
http://www.filefactory.com/folder/53ebeed0149559b5
Alexander Borodin - Symphony 2 & Nikolai Rimsky-Korsakov - Capriccio Espagnol- London Symphony Orchestra - Jean Marinon - Decca Music Group Limited (2017)
2ch dsf (1bit/2.82MHz) DSD64(1.77GB) | Source: acoustic_sounds | Originally 1959 | DR12 | PDF | Classical
Borodin's Symphony 2 in B Minor took about 6 years to complete. It was the work of a man who regarded music as his avocation rather than his profession, who wedged time for composition into a life crowded with other important obligations. Alexander Borodin was a leading surgeon & chemist in 19th- century Russia, the highly regarded author of scientific papers bearing such unmusical titles as Researches Upon the Fluoride of Benzol & The Solidification of Aldehydes. Musically, Borodin goes down in history as a member of the renowned Russian 揊ive,?the group which also included Balakireff, Cui, Moussorgsky & Rimsky-Korsakoff. Borodin worked intermittently on his 2nd Symphony from 1871 to 1876. A man who kept taking detours, he had put aside his opera Prince Igor-which he never finished-to do the symphony. He wrote the 1st movement in 1871, then shelved the composition to concentrate on an operatic ballad entitled Mlada. Gedeunov, the director of the Russian Opera, was behind this new project, which did not materialize because of financial difficulties. So Borodin went back to work on the symphony.
It was 1st performed in February of 1877 at the Rittersaal, St. Petersburg, with Napravnik conducting. Borodin had put what he thought were the finishing touches to the work while he was ill in bed. Reviewing the debut performance in the publication Novoe Vremya, the Russian critic lvanov had this to say: 揌earing the music, you are reminded of the ancient Russian knights in all their awkwardness & also in all their greatness. There is heaviness even in the lyric & tender passages. The massive forms are at times tiresome; they crush the hearer.?Borodin subsequently revised the symphony. New York City 1st heard it in 1887 at a concert of the Philharmonic Society under the direction of Anton Seidl.
The Borodin Symphony 2 is a strongly evocative composition. Stassov, the literary man who was eloquent in his defense of the symphony, wrote: 揃orodin himself often told me that in the slow movement he wished to recall the songs of the Slav bayans ; in the 1st movement, the gatherings of ancient Russian princes; & in the finale, the banquets of the heroes to the sound of the guzla & the bamboo flute in the midst of the rejoicing crowd... Borodin was haunted... by a picture of feudal Russia, & tried to paint it in music.?Borodin died in the city of his birth, St. Petersburg, in February of 1887. The following summer Rimsky-Korsakoff was busy working on the orchestration of his friend Borodin's unfinished opera, Prince Igor. 揑n the middle of the summer, this work was interrupted,?Rimsky-Korsakoff states. His own genius was shoving Borodin's aside. 揑 composed the Spanish Capriccio from the sketches of my projected virtuoso violin fantasy of Spanish themes.?
A man who knew his own mind, & didn't hesitate to speak it, Rimsky-Korsakoff had some emphatic & specific remarks to make about the Capriccio Espagnole: 揟he opinion formed by both critics & the public that the Capriccio is a magnificently orchestrated piece is wrong. The Capriccio is a brilliant composition for the orchestra. The changes of timbres, the felicitous choice of melodic designs & figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments, solo, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition & not its garb or orchestration.?The composer conducted the premi鑢e of the work in St. Petersburg on October 31, 1887. The flamboyant Capriccio received an enthusiastic reception, & has been tremendously popular ever since. It has the dashing zest which might be expected of an ex-sailor like Rimsky-Korsakoff.
Despite an early manifestation of musical talent, family pressure & economic reasons combined to force Rimsky-Korsakoff to join the Russian Navy. He had been studying music with Balakireff, but his family frowned on this activity. His mother tried to convince him that his interest in music was just a passing fancy. The result was that by the time he was 21, Rimsky-Korsakoff was a naval officer with 2.5 years of sea duty to his credit. It seemed quite possible that he would enter the Naval Academy for advanced instruction. But in September of 1865 he was transferred to St. Petersburg. Here he renewed his friendship with Balakireff, & was soon drawn into a circle of talented musicians. When his 1st symphony was performed at 1 of Balakireff's Free School concerts, the applauding audience was surprised when a young man in naval uniform rose to acknowledge the applause.
Rimsky-Korsakoff's gift for exotic music is effectively shown in the March from Tsar Saltan, an opera composed in 1899-1900. In operatic form, it made its 1st appearance in Moscow in December of 1900. The suite, adapted for orchestra in 3 movements by the composer, had the odd distinction of being premi鑢ed in St. Petersburg shortly before the opera from which it was taken was heard in Moscow. The story of the opera is from a fairy tale by Pushkin, a writer much admired by Rimsky-Korsakoff. V.I. Bielsky wrote the opera libretto, & the composer, considering it 搒plendid,?matched its quality musically.
~ Notes by Leonard Raphael ?by Radio Corporation of America, 1959
Tracks:
Alexander Borodin (1833-1887)
Symphony No.2 in B minor
1-1. Allegro 06:41
2-2. Scherzo: Prestissimo - Allegretto 04:37
3-3. Andante 07:39
4-4. Finale: Allegro 05:53
Nikolai Rimsky-Korsakov (1844-1908)
Capriccio Espagnol, Op.34
5-1. Alborada 01:11
6-2. Variazioni 04:29
7-3. Alborada 01:11
8-4. Scena e canto gitano 02:29
9-5. Fandango asturiano 05:37
The Tale of Tsar Saltan
10-March 04:57
Time: 44:43
Musicians:
Hugh Maguire, violin solo 5-9
London Symphony Orchestra
Jean Marinon, conductor
Recorded in Kingsway Hall, England
http://www.filefactory.com/folder/53ebeed0149559b5
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