09-德柳斯：《在夏日花园》(2021) [Hi-Res]
艺术家：哈雷管弦乐团、约翰·巴比罗利爵士
专辑名称：德柳斯：《在夏日花园》《春日初闻布谷鸟啼》《卡琳达》（重新混音版）
发行年份：1969年
厂牌：华纳古典
音乐类型：古典音乐
音质：FLAC（分轨）/24比特-192千赫兹FLAC（分轨）
总时长：56分42秒
总大小：246兆字节/2.07吉字节
网站：专辑预览
曲目列表
1. 德柳斯：《在夏日花园》（重新混音）（15分03秒）
2. 德柳斯/比彻姆改编：《哈桑》第一幕：间奏曲（重新混音）（2分23秒）
3. 德柳斯/比彻姆改编：《哈桑》第一幕：小夜曲（重新混音）（2分56秒）
4. 德柳斯：《日出前的歌》（重新混音）（6分21秒）
5. 德柳斯/芬比改编：《科昂加》第二幕：《卡琳达》（重新混音）（4分35秒）
6. 德柳斯：小型管弦乐两首：第一首《春日初闻布谷鸟啼》（重新混音）（7分29秒）
7. 德柳斯：小型管弦乐两首：第二首《河上夏夜》（重新混音）（7分05秒）
8. 德柳斯/芬比配器：第二弦乐四重奏：第三首《迟归的燕子》（重新混音）（10分57秒）
约翰·巴比罗利爵士（1899–1970）出生于伦敦，父母为意大利和法国血统，他以大提琴家身份接受训练，1916年加入亨利·伍德爵士指挥的女王大厅管弦乐团之前，曾在剧院和咖啡馆管弦乐队演奏。他的指挥生涯始于1924年组建自己的管弦乐团，1926年至1933年间，他在科文特花园等地积极从事歌剧指挥工作。随后担任多个乐团职位：苏格兰管弦乐团（1933–36）、纽约爱乐乐团（1936–42）、哈雷管弦乐团（1943–70）和休斯顿交响乐团（1961–67）。巴比罗利曾客座指挥许多世界顶尖乐团，尤其以诠释马勒、西贝柳斯、埃尔加、沃恩·威廉斯、德柳斯、普契尼和威尔第的音乐而备受推崇。他录制了许多杰出唱片，包括完整的勃拉姆斯和西贝柳斯交响曲，以及威尔第和普契尼的歌剧和大量英国作品。
巴比罗利较晚才开始接触古斯塔夫·马勒的音乐。1930年，他首次听到马勒第四交响曲，在别人的排练中初次聆听时，他觉得这部作品与柏辽兹和瓦格纳相比显得单薄。在职业生涯早期的一些尝试之后——例如1931年，他在伦敦皇家爱乐协会音乐会上为埃琳娜·格哈特指挥《亡儿悼歌》——直到1946年，他在哈雷管弦乐团的第三个乐季中加入《大地之歌》，马勒的作品才真正出现在他的节目中。1952年，他的朋友、评论家内维尔·卡杜斯回忆起汉密尔顿·哈蒂爵士在担任哈雷管弦乐团指挥（1920–33）期间让英国首次聆听了马勒第九交响曲，于是敦促巴比罗利考虑自己指挥这部作品。卡杜斯说，这对他来说是“理想的作品”。两年后，这件事发生了：此外，巴比罗利首次指挥马勒交响曲开启了一个16年的时期，在此期间他演绎了除第八交响曲之外的所有马勒交响曲。他随后商业录制了第一、第五、第六和第九交响曲，其他几部的广播录音也出现在CD中。
交响曲在巴比罗利的余生中占据了重要位置，甚至可能损害了他的健康，因为他不得不将花费大量时间研究这些作品的安排硬塞进本已拥挤不堪的日程中。他认为掌握一部马勒交响曲需要18个月到两年的时间，并且会花数小时精心设计所有弦乐部分的弓法，为演出做准备。“如果你想出色地指挥马勒，他的音乐必须融入你的肌肤和骨骼，”他补充说：“在我晚年，我发现了一些……具有如此伟大深度的东西，这对我来说是一种快乐。当然，阅读这些总谱不需要两年时间，但如果你准备在如此广阔的音乐领域中旅行，你必须确切知道音乐 ideas 从哪里开始，在哪里结束，以及每个部分如何融入整体模式……”为此，他在1956年花了几天时间记忆第二交响曲的合唱终曲，尽管他首次尝试指挥这部作品的时间定在1958年5月。
尽管巴比罗利是天生的歌剧指挥家，但他的大部分歌剧指挥工作仅限于职业生涯早期，1926年至1933年间，他在与英国国家歌剧院、卡尔·罗萨和科文特花园公司合作时积累了约20部歌剧的曲目。其中包括瓦格纳的《纽伦堡的名歌手》，他将其带到各省巡演并在科文特花园指挥：1931年他与伊丽莎白·舒曼、劳里茨·梅尔基奥尔和弗里德里希·肖尔等歌手录制的五重奏是这些演出的著名纪念。尽管他再也没有在歌剧院指挥过这部作品，但它的序曲成为他音乐会节目的主要部分，尤其是在哈雷管弦乐团的重要场合：事实上，1943年，他选择用它来开启他仅用四周时间就改革并振兴的乐团的首场音乐会。
直到20世纪60年代，也就是他生命的最后十年，他才获得重新拿起自己深爱的旧歌剧总谱的机会。普契尼的《曼侬·莱斯科》以及具有讽刺意味的《纽伦堡的名歌手》是他当时计划录制的歌剧之一，但尽管这两个项目都没有实现，他确实设法录制了（除了珀塞尔的《狄多与埃涅阿斯》）威尔第的《奥赛罗》——令人高兴的是，这让家族传统得以延续，因为他的父亲和祖父都曾在1887年斯卡拉歌剧院的首演中演奏——以及《蝴蝶夫人》。
埃尔加的《谜语变奏曲》与他出生于同一年，这一令人愉快的巧合让巴比罗利很高兴，这部作品成为他曲目的基石。他热情地在世界各地指挥它，甚至在1969年，他还能写信给朋友迈克尔·肯尼迪：“我有一段时间没做《谜语变奏曲》了，再次被它们彻底震撼。”他在78转唱片上录制了两次这部作品，在立体声时代又录制了两次，分别是1956年和1962年。这个时期对埃尔加第一交响曲和《引子与快板》的令人难忘的演绎，以及1956年这个版本的《谜语变奏曲》，时而细腻，时而高贵，时而激动人心，无疑属于同一范畴。他对《鹅妈妈》的精心演绎也展现了一位大师级指挥家的功力，他对法国曲目同样有着挑剔的耳朵；此时他和哈雷管弦乐团的合作处于巅峰，乐手们对他的艺术想象有着出色的默契和响应。
巴比罗利目前在EMI的唱片目录非常广泛，包括他所有伟大的录音表演，许多收录在英国作曲家系列中。
哈雷管弦乐团
约翰·巴比罗利爵士，指挥
数字重新混音
Artist: Hallé Orchestra, Sir John Barbirolli
Title: Delius: In a Summer Garden, On Hearing the First Cuckoo in Spring, La Calinda... (Remastered)
Year Of Release: 1969
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 56:42
Total Size: 246 MB / 2.07 GB
WebSite: Album Preview
Tracklist:
1. Delius: In a Summer Garden (Remastered) (15:03)
2. Delius / Arr. Beecham: Hassan, Act I: Interlude (Remastered) (2:23)
3. Delius / Arr. Beecham: Hassan, Act I: Serenade (Remastered) (2:56)
4. Delius: A Song Before Sunrise (Remastered) (6:21)
5. Delius / Arr. Fenby: Koanga, Act II: La Calinda (Remastered) (4:35)
6. Delius: 2 Pieces for Small Orchestra: No. 1, On Hearing the First Cuckoo in Spring (Remastered) (7:29)
7. Delius: 2 Pieces for Small Orchestra: No. 2, Summer Night on the River (Remastered) (7:05)
8. Delius / Orch. Fenby: String Quartet No. 2: III. Late Swallows(Remastered) (10:57)
Born in London of Italian-French parents, Sir John Barbirolli (1899–1970) trained as a cellist and played in theatre and café orchestras before joining the Queen’s Hall Orchestra under Sir Henry Wood in 1916. His conducting career began with the formation of his own orchestra in 1924, and between 1926 and 1933 he was active as an opera conductor at Covent Garden and elsewhere. Orchestral appointments followed: the Scottish Orchestra (1933–36), the New York Philharmonic (1936–42), the Hallé Orchestra (1943–70) and the Houston Symphony (1961–67). Barbirolli guest conducted many of the world’s leading orchestras and was especially admired as an interpreter of the music of Mahler, Sibelius, Elgar, Vaughan Williams, Delius, Puccini and Verdi. He made many outstanding recordings, including the complete Brahms and Sibelius symphonies, as well as operas by Verdi and Puccini and much English repertoire.
Barbirolli was a late convert to the music of Gustav Mahler. He had first come across it in 1930 when the Fourth Symphony, as heard for the first time at somebody else’s rehearsal, struck him as being thin, certainly by comparison with Berlioz and Wagner. After some early excursions at the beginning of his career – such as in 1931, when he conducted the Kindertotenlieder for Elena Gerhardt at a Royal Philharmonic Society concert in London – Mahler scarcely even figured in his programmes until 1946, when he included Das Lied von der Erde in his third season with the Halle Orchestra. Then in 1952 his friend, the critic Neville Cardus, recalling that Sir Hamilton Harty had given England its first hearing of the Ninth Symphony during his reign as Hallé conductor (1920–33), urged Barbirolli to consider conducting it himself. It was, said Cardus, “the ideal work” for him. Two years later the thing happened: moreover, that first-ever performance by Barbirolli of a Mahler symphony opened the floodgates to a 16-year period in which he embraced them all save No.8. The First, Fifth, Sixth and Ninth he subsequently recorded commercially, and radio recordings of several of the others have also appeared on CD.
The symphonies preoccupied Barbirolli for the rest of his life, possibly even to the detriment of his health, as the vast periods of time he spent studying them had to be squeezed into an already hopelessly overcrowded schedule. He reckoned that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances. "If you want to conduct Mahler well his music must be under your skin and in your bones", he said, adding: "It is a joy to me in my advancing years that I have found something which […] is of such mighty dimensions. Of course, it does not take two years to read these scores, but if you prepare for a journey through such immeasurably wide musical spheres, you must know exactly where the musical ideas begin and where they end and how each fits into the pattern of the whole […]." To this end he spent several days in 1956 memorizing the choral finale of the Second Symphony, despite the fact that his first attempt upon it was not scheduled until May 1958.
Although a born opera conductor, most of Barbirolli’s operatic conducting was confined to the early years of his career when, between 1926 and 1933, he amassed a repertoire of 20 or so operas while working with the British National Opera, Carl Rosa and Covent Garden companies. Among them was Wagner’s Die Meistersinger, which he toured to the provinces and conducted at Covent Garden: a celebrated souvenir of these performances exists in his 1931 recording of the Quintet with Elisabeth Schumann, Lauritz Melchior and Friedrich Schorr, no less, among the singers. Although he never again conducted the work in the opera house, its overture became a staple of his concert programmes, especially for significant occasions with the Hallé: indeed, in 1943 he chose it to launch the very first concert of the orchestra he had reformed and revitalized in just four weeks.
It was not until the 1960s, during his last decade, that the opportunity to take up again the old operatic scores he loved so deeply came his way. Puccini’s Manon Lescaut and, ironically, Die Meistersinger were among the operas planned for recording by him at this time, but although neither project materialized he did manage to record (besides Purcell’s Dido and Aeneas) Verdi’s Otello – happily bringing the family wheel full circle, as both his father and grandfather had played in the opera’s première at La Scala in 1887 – and Madama Butterfly.
The happy coincidence that Elgar’s Enigma Variations dated from the same year as his birth delighted Barbirolli, and the work became a cornerstone of his repertoire. He conducted it zealously all over the world, and it is a measure of his love for the music that even as late as 1969 he could still write to his friend Michael Kennedy: "I hadn’t done the Enigmas for some time and was completely bowled over by them again." He recorded the work twice on 78s, and twice more during the stereo era, in 1956 and 1962. Completely memorable accounts of Elgar’s Symphony No.1 and Introduction and Allegro date from this period, and this 1956 version of the Enigma Variations, delicate, noble and thrilling by turns, is unquestionably in the same category. His cultivated reading of Ma Mère l’oye, too, reveals a master conductor at work, with an equally fastidious ear for the French repertoire; he and the Hallé were at the peak of their association at this time, with the players wonderfully attuned and responsive to his artistic imagination.
Barbirolli's current EMI discography is extensive and comprises all of his great recorded performances, many in the British Composers series.
Halle Orchestra
Sir John Barbirolli, conductor
Digitally remastered
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