|
|
艺术家：约翰·巴比罗利爵士（Sir John Barbirolli）
作品名称：《西贝柳斯：第四交响曲、《爱恋》及C大调浪漫曲（重新灌录）》（Sibelius: Symphony No. 4, Rakastava & Romance in C Major (Remastered)）
发行年份：1970年
厂牌：华纳古典（Warner Classics）
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：55分01秒
总大小：246兆字节 / 197吉字节
网站：专辑预览
曲目列表
01. 西贝柳斯：a小调第四交响曲，作品63号：第一乐章 非常中板，近似柔板（9分58秒）
02. 西贝柳斯：a小调第四交响曲，作品63号：第二乐章 非常活泼的快板（4分47秒）
03. 西贝柳斯：a小调第四交响曲，作品63号：第三乐章 广板（11分10秒）
04. 西贝柳斯：a小调第四交响曲，作品63号：第四乐章 快板（10分29秒）
05. 西贝柳斯：《爱恋》，作品14号：第一乐章 恋人（4分32秒）
06. 西贝柳斯：《爱恋》，作品14号：第二乐章 恋人之路（2分48秒）
07. 西贝柳斯：《爱恋》，作品14号：第三乐章 晚安，我亲爱的……再见（5分39秒）
08. 西贝柳斯：C大调浪漫曲，作品42号（5分43秒）
约翰·巴比罗利爵士（1899 - 1970）出生于伦敦，父母是意大利和法国裔。他曾接受大提琴训练，在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团演奏。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，他在科文特花园及其他地方担任歌剧指挥。随后他担任了多个管弦乐团的职位：苏格兰管弦乐团（1933 - 1936）、纽约爱乐乐团（1936 - 1942）、哈雷管弦乐团（1943 - 1970）和休斯顿交响乐团（1961 - 1967）。巴比罗利曾客座指挥世界上许多顶尖的管弦乐团，尤其以对马勒、西贝柳斯、埃尔加、沃恩·威廉姆斯、戴留斯、普契尼和威尔第音乐的诠释而备受赞赏。他录制了许多杰出的唱片，包括勃拉姆斯和西贝柳斯的交响曲全集，以及威尔第和普契尼的歌剧和许多英国作品。
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，当时在别人的排练中，这部作品给他的感觉是单薄的，与柏辽兹和瓦格纳相比更是如此。在他职业生涯早期的一些尝试之后——比如1931年，他在伦敦皇家爱乐协会的音乐会上为埃琳娜·格哈特指挥《亡儿之歌》——直到1946年，马勒的作品几乎未出现在他的节目单中，那一年他在哈雷管弦乐团的第三个音乐季中加入了《大地之歌》。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 - 1933）期间首次让英国听众听到马勒的第九交响曲，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，这件事成真了：此外，巴比罗利首次指挥马勒交响曲的演出开启了一个16年的时期，在这期间他演绎了除第八交响曲之外的所有马勒交响曲。随后他录制了第一、第五、第六和第九交响曲，其他几部交响曲的广播录音也出现在了CD中。
交响曲在巴比罗利的余生中占据了重要位置，这甚至可能损害了他的健康，因为他花费大量时间研究这些作品，而这些时间是从他本已极其繁忙的日程中挤出来的。他认为掌握一部马勒交响曲需要18个月到两年的时间，并且他会花几个小时精心标注所有弦乐部分，为演出做准备。“如果你想出色地指挥马勒的作品，他的音乐必须深入你的肌肤和骨髓。”他说，还补充道：“在我年迈之时，能找到如此宏伟的作品是一种喜悦。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遨游，你必须确切地知道音乐主题从何开始，到何处结束，以及每个部分如何融入整体的模式中……”为此，1956年他花了几天时间背诵马勒第二交响曲的合唱终曲，尽管他首次尝试指挥这部作品是在1958年5月。
尽管巴比罗利天生就是歌剧指挥，但他大部分的歌剧指挥活动都集中在职业生涯早期。1926年至1933年间，他在与英国国家歌剧院、卡尔·罗萨歌剧院和科文特花园歌剧院合作时积累了约20部歌剧的指挥经验。其中包括瓦格纳的《纽伦堡的名歌手》，他带着这部作品在地方巡演，并在科文特花园指挥演出：1931年他与伊丽莎白·舒曼、劳里茨·梅尔基奥尔和弗里德里希·肖尔等歌手录制的这部作品的五重奏，成为了这些演出的著名纪念。尽管他此后再也没有在歌剧院指挥过这部作品，但该作品的序曲成为了他音乐会节目单上的常客，尤其是在与哈雷管弦乐团的重要演出中：事实上，1943年他选择这部序曲来开启他仅用四周时间重组并重振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指挥他深爱的歌剧总谱。普契尼的《曼侬·莱斯科》，具有讽刺意味的是，还有《纽伦堡的名歌手》，是他当时计划录制的歌剧之一，但这两个项目都没有实现。不过他成功录制了（除了珀塞尔的《狄多与埃涅阿斯》之外）威尔第的《奥赛罗》——令人高兴的是，这使家族的音乐历程完整了，因为他的父亲和祖父都曾在1887年斯卡拉歌剧院的这部歌剧首演中演奏——以及《蝴蝶夫人》。
埃尔加的《谜语变奏曲》与他出生于同一年，这一巧合让巴比罗利非常高兴，这部作品也成为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年还能写信给朋友迈克尔·肯尼迪的内容中可以看出他对这部作品的喜爱：“我有一段时间没有指挥《谜语变奏曲》了，再次演奏时我完全为之倾倒。”他在78转唱片上录制了这部作品两次，在立体声时代又录制了两次，分别是1956年和1962年。他对埃尔加第一交响曲和《引子与快板》令人难忘的诠释也来自这个时期，1956年录制的《谜语变奏曲》，细腻、高贵且激动人心，无疑也属于同一优秀水准。他对拉威尔《鹅妈妈》的精心演绎也展示了一位大师级指挥家的功力，他对法国作品有着同样挑剔的耳朵；此时他与哈雷管弦乐团的合作达到了顶峰，乐团成员们对他的艺术想象力有着出色的理解和回应。
巴比罗利在EMI的唱片目录非常丰富，包括他所有伟大的录音演出，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
数字重新灌录
Artist: Sir John Barbirolli
Title: Sibelius: Symphony No. 4, Rakastava & Romance in C Major (Remastered)
Year Of Release: 1970
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 55:01
Total Size: 246 MB / 1.97 GB
WebSite: Album Preview
Tracklist:
01. Sibelius: Symphony No. 4 in A Minor, Op. 63: I. Tempo molto moderato, quasi adagio (9:58)
02. Sibelius: Symphony No. 4 in A Minor, Op. 63: II. Allegro molto vivace (4:47)
03. Sibelius: Symphony No. 4 in A Minor, Op. 63: III. Il tempo largo (11:10)
04. Sibelius: Symphony No. 4 in A Minor, Op. 63: IV. Allegro (10:29)
05. Sibelius: Rakastava, Op. 14: I. The Lover (4:32)
06. Sibelius: Rakastava, Op. 14: II. The Way of the Lover (2:48)
07. Sibelius: Rakastava, Op. 14: III. Good Night My Beloved... Farewell (5:39)
08. Sibelius: Romance in C Major, Op. 42 (5:43)
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
|
|
发表于 2025-5-15 08:06:04