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艺术家：哈雷管弦乐团、约翰·巴比罗利爵士
专辑名称：《西贝柳斯：伟大的音诗作品。《芬兰颂》《卡雷利亚组曲》《悲伤圆舞曲》…（重新混音版）》
发行年份：1966年
厂牌：华纳古典唱片公司
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：50分31秒
总大小：252兆字节 / 1.86吉字节
网站：专辑预览
曲目列表
01. 《芬兰颂》，作品26号（8分32秒）
02. 《卡雷利亚组曲》，作品11号：第一乐章 间奏曲（3分46秒）
03. 《卡雷利亚组曲》，作品11号：第二乐章 叙事曲（7分17秒）
04. 《卡雷利亚组曲》，作品11号：第三乐章 进行曲风格（4分42秒）
05. 《波约拉的女儿》，作品49号（14分18秒）
06. 《死亡》组曲中的两首小品，作品44号：第一首，《悲伤圆舞曲》（5分31秒）
07. 《莱明凯宁组曲》，作品22号 “《卡勒瓦拉》传奇”：第四首，《莱明凯宁归来》（6分30秒）
约翰·巴比罗利爵士（1899-1970）出生于伦敦，父母是意大利裔和法裔。他起初接受的是大提琴训练，曾在剧院和咖啡馆的管弦乐队中演奏，1916年加入了亨利·伍德爵士指挥的女王大厅管弦乐团。1924年，他组建了自己的管弦乐队，由此开启了他的指挥生涯。1926年至1933年间，他活跃于科文特花园剧院及其他地方，担任歌剧指挥。随后，他陆续担任了多个管弦乐团的职位：苏格兰管弦乐团（1933-1936年）、纽约爱乐乐团（1936-1942年）、哈雷管弦乐团（1943-1970年）以及休斯顿交响乐团（1961-1967年）。巴比罗利曾客座指挥过世界上许多顶尖的管弦乐团，尤其以诠释马勒、西贝柳斯、埃尔加、沃恩·威廉姆斯、戴留斯、普契尼和威尔第的音乐而备受赞誉。他录制了许多杰出的唱片，包括勃拉姆斯和西贝柳斯的全套交响曲，以及威尔第和普契尼的歌剧，还有大量的英国音乐作品。
巴比罗利很晚才开始接触古斯塔夫·马勒的音乐。1930年，他首次听到马勒的《第四交响曲》，是在别人的排练中，当时他觉得这部作品很单薄，当然是与柏辽兹和瓦格纳的作品相比而言。在他职业生涯的早期，曾有过一些尝试——比如1931年，他在伦敦皇家爱乐协会的音乐会上为埃琳娜·格尔哈特指挥了《亡儿之歌》——但在1946年之前，马勒的作品几乎没有出现在他的演出节目单上。1946年，在他与哈雷管弦乐团合作的第三个音乐季中，他将《大地之歌》纳入了节目单。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期间（1920-1933年）曾让英国首次听到了马勒的《第九交响曲》，于是敦促巴比罗利考虑亲自指挥这部作品。卡杜斯说，这对他来说是 “理想的作品”。两年后，这件事成真了：而且，巴比罗利首次指挥马勒的交响曲，就开启了一个长达16年的时期，在这期间，除了《第八交响曲》，他指挥了马勒的其他所有交响曲。后来，他对《第一交响曲》《第五交响曲》《第六交响曲》和《第九交响曲》进行了商业录制，其他几部交响曲的广播录音也被制成了CD发行。
在他生命的剩余时光里，马勒的交响曲一直占据着巴比罗利的精力，这甚至可能损害了他的健康，因为他不得不从已经排得满满当当的日程中挤出大量时间来研究这些作品。他认为，掌握一部马勒的交响曲需要18个月到两年的时间，而且他会花上数小时精心为所有弦乐部分标记弓法，为演出做准备。“如果你想出色地指挥马勒的作品，他的音乐必须融入你的肌肤和骨髓，” 他说，并补充道：“在我年事渐高的时候，我很高兴能发现这样一部伟大的作品。当然，阅读这些总谱不需要两年时间，但如果你要为穿越如此广阔无垠的音乐领域做准备，你必须确切地知道音乐主题从哪里开始，在哪里结束，以及它们如何融入整个作品的架构之中……” 为此，1956年，他花了好几天时间背诵马勒《第二交响曲》的合唱终曲，尽管他第一次指挥这部作品的时间定在1958年5月。
尽管巴比罗利天生就是歌剧指挥，但他的大部分歌剧指挥生涯都集中在职业生涯的早期。1926年至1933年间，他在与英国国家歌剧院、卡尔·罗萨歌剧公司和科文特花园剧院合作时，积累了大约20部左右的歌剧曲目。其中包括瓦格纳的《纽伦堡的名歌手》，他带着这部作品到各地巡演，并在科文特花园剧院指挥演出：1931年，他录制了该剧的五重唱，演唱者包括伊丽莎白·舒曼、劳里茨·梅尔基奥尔和弗里德里希·肖尔等，这成为了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，但它的序曲成了他音乐会节目单上的常客，尤其是在哈雷管弦乐团的重要演出中：事实上，1943年，他选择用这部作品的序曲来开启他仅用四周时间就重组并振兴的哈雷管弦乐团的首场音乐会。
直到20世纪60年代，也就是他生命的最后十年，他才再次有机会重新拿起他深爱的那些旧歌剧总谱。当时，他计划录制普契尼的《曼侬·莱斯科》，颇具讽刺意味的是，还有《纽伦堡的名歌手》，但这两个项目都没有实现。不过，他确实录制了（除了珀塞尔的《狄多与埃涅阿斯》）威尔第的《奥赛罗》——这很幸运地让家族的音乐传承完整了，因为他的父亲和祖父都曾在1887年《奥赛罗》在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》创作于他出生的同一年，这个巧合让巴比罗利非常高兴，这部作品也成了他演出曲目的基石。他热情地在世界各地指挥这部作品，从他在1969年还能写信给他的朋友迈克尔·肯尼迪说 “我有一段时间没有指挥《谜语变奏曲》了，再次指挥时我又完全被它征服了” 就可以看出他对这部作品的喜爱。他在78转唱片时代录制过两次这部作品，在立体声时代又录制了两次，分别是在1956年和1962年。他对埃尔加《第一交响曲》以及《引子与快板》令人难忘的演绎都出自这个时期，而1956年录制的《谜语变奏曲》，细腻、高贵且扣人心弦，无疑也属于同一水准。他对拉威尔《鹅妈妈组曲》的精心诠释，也展现了一位大师级指挥家的功力，他对法国音乐作品同样有着敏锐的听觉；当时，他与哈雷管弦乐团的合作正处于巅峰状态，乐团成员们完美地契合并响应着他的艺术想象。
巴比罗利目前在百代唱片公司的唱片目录非常丰富，包含了他所有伟大的录音作品，其中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
数字重新混音版
Artist: Hallé Orchestra & Sir John Barbirolli
Title: Sibelius: Great Tone Poems. Finlandia, Karelia Suite, Valse triste… (Remastered)
Year Of Release: 1966
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 50:31
Total Size: 252 MB / 1.86 GB
WebSite: Album Preview
Tracklist:
01. Finlandia, Op. 26 (8:32)
02. Karelia Suite, Op. 11: I. Intermezzo (3:46)
03. Karelia Suite, Op. 11: II. Ballade (7:17)
04. Karelia Suite, Op. 11: III. Alla marcia (4:42)
05. Pohjola's Daughter, Op. 49 (14:18)
06. 2 Pieces from Kuolema, Op. 44: No. 1, Valse triste (5:31)
07. Lemminkäinen Suite, Op. 22 "Legends of the Kalevala": No. 4, Lemminkäinen's Return (6:30)
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.
Hallé Orchestra
Sir John Barbirolli, conductor
Digitally remastered
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发表于 2025-5-5 08:19:21