05-杜伊斯堡爱乐乐团 乔纳森·达林顿 若利韦、拉威尔、德彪西(2013) [Hi-Res]

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艺术家：杜伊斯堡爱乐乐团 乔纳森·达林顿  
作品名称：杜伊斯堡爱乐乐团 乔纳森·达林顿 若利韦、拉威尔、德彪西（2013）  
发行年份：2013年  
厂牌：ACOUSENCE Classics  
音乐类型：古典乐  
音质：24位-192kHz FLAC（含分轨+小册子）  
总时长：52分42秒  
总大小：1.8吉字节  
网站：专辑预览  

曲目列表  

安德烈·若利韦（1905-1974）  
钢琴与管弦乐协奏曲（帕斯卡·加莱 钢琴）  
1 坚定的快板 07:35  
2 钢琴与管弦乐协奏曲——第二乐章 有活力的行板 09:23  
3 钢琴与管弦乐协奏曲——第三乐章 狂热的快板 06:25  

莫里斯·拉威尔（1875-1937）/马里于斯·康斯坦特（1925-2004）  
《夜之加斯帕》（管弦乐版）  
4 水妖 06:47  
5 绞刑架 05:12  
6 斯卡尔博 07:09  

克劳德·德彪西（1862-1918）/贝尔纳多·莫利纳里（1880-1958）  
《欢乐岛》（管弦乐版）  
7 近似华彩乐段 07:09  

演奏人员：  
帕斯卡·加莱 - 钢琴（1-3）  
杜伊斯堡爱乐乐团  
乔纳森·达林顿 - 指挥  
录音时间与地点：2007年5月9-10日（7）；6月20-21日（4-6）；9月19日（1-3），杜伊斯堡墨卡托大厅  

创作灵感各异：欧洲以外的音乐、诗集与绘画，分别启发了作曲家安德烈·若利韦、莫里斯·拉威尔与克劳德·德彪西创作其重要作品。  
安德烈·若利韦以中非、远东和波利尼西亚传统音乐的典型元素为基础，在钢琴协奏曲中勾勒出音乐的仪式起源。鉴于魔法与Invocation（召唤）概念在其作品中反复出现，电台委托他以非欧洲声响与节奏为灵感创作的请求令他着迷。另一方面，莫里斯·拉威尔受阿洛伊修斯·贝特朗散文诗歌中幽灵般的奇异幻象启发，创作了钢琴套曲；而克劳德·德彪西的《欢乐岛》则源于画家让-安托万·华托的诗作。  
这三部法国作品均离不开钢琴，但键盘的处理方式各异：若利韦的钢琴协奏曲中，钢琴如打击乐与鼓点般铿锵；拉威尔的作品中，钢琴音色统一，营造特定氛围；德彪西的作品则展现 sweeping（激昂）的炫技性。显然，传统钢琴技巧对这些作品已非核心——这不仅适用于若利韦贴近自然的钢琴协奏曲，早在此前数十年，拉威尔的钢琴套曲与德彪西的单乐章作品便已如此。因此，将《夜之加斯帕》与《欢乐岛》改编为管弦乐版本合乎逻辑：贝尔纳多·莫利纳里在德彪西生前就为其作品配器，马里于斯·康斯坦特则在拉威尔逝世半个多世纪后为其套曲 orchestrated（改编管弦乐）。

Artist: Duisburger Philharmoniker, Jonathan Darlington
Title: Jolivet, Ravel, Debussy (2013)
Year Of Release: 2013
Label: ACOUSENCE Classics
Genre: Classical
Quality: 24bit-192kHz FLAC (tracks+booklet)
Total Time: 52:42
Total Size: 1.8 GB
WebSite: Album Preview

Tracklist:

André Jolivet (1905-1974)

Konzert für Klavier und Orchester (PASCAL GALLET Klavier)
1 Allegro deciso 07:35
2 Concerto for Piano and Orchestra – II. Andante con moto 09:23
3 Concerto for Piano and Orchestra – III. Allegro frenetico 06:25

Maurice Ravel (1875-1937) / Marius Constant (1925-2004)

Gaspard de la nuit (Orchesterversion)
4 Ondine 06:47
5 Le Gibet 05:12
6 Scarbo1 0:09

Claude Debussy (1862-1918) / Bernardo Molinari (1880-1958)

L´isle joyeuse (Orchesterversion)
7 Quasi una cadenza 07:09

Personnel:
Pascal Gallet - piano (1-3)
Duisburg Philharmonic Orchestra
Jonathan Darlington - conductor
rec. in 2007: 9-10.05 (7); 20-21.06 (4-6); 19.09 (1-3), Mercatorhalle Duisburg‎

The inspirations are very differing: music from outside Europe, an anthology of poems and a painting inspired the composers André Jolivet, Maurice Ravel and Claude Debussy to some of their most important works.

Using as a basis the typical elements of traditional music from Central Africa, the Far East and Polynesia, André Jolivet conjures up the ritualistic origins of this music in his piano concerto. And since the concept of magic and invocation repeatedly appears in his work, the request by a radio station to write music inspired by non-European sounds and rhythms fascinated him. On the other hand Maurice Ravel was inspired by the ghostly and uncanny visions in the prose-poems of Aloysius Bertrand to write a piano cycle, and in »L’isle joyeuse« (»The happy island«) Claude Debussy was motivated by a poem by the painter Jean-Antoine Watteau.

The three French compositions are inconceivable without the piano, but the keyboard is treated in each case in different ways: percussive and drum-like in the piano concerto by Jolivet, enveloped into certain atmospheres appropriate to the uniform piano colour with Ravel, and sweepingly virtuosic with Debussy. It is easy to see that the classic piano technique no longer plays a role for these pieces. This does not only apply to the close-to-nature piano concerto by Jolivet, but decades earlier already to the piano cycle of Ravel and the single piece by Debussy. Therefore the wish to create orchestral versions of »Gaspard de la nuit« and »L’isle joyeuse« is only logical. Bernardo Molinari instrumented the Debussy piece still during the composer’s life time, Marius Constant orchestrated the Ravel cycle more than half a century after the composer’s death.

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