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艺术家：西蒙·普雷斯顿（Simon Preston）
专辑名称：皇家阿尔伯特音乐厅修复管风琴
发行年份：2006年
厂牌：Signum唱片公司
音乐类型：古典乐
音质：FLAC无损 / 24位-48.0kHz FLAC（含手册）
总时长：01:14:27
总大小：308 / 683 MB
官网：专辑预览
曲目列表
01. 圣保罗序曲，作品36号（费利克斯·门德尔松）
02. 巴赫主题赋格曲，作品60号 I. 缓慢地（罗伯特·舒曼）
03. 巴赫主题赋格曲，作品60号 II. 活泼地（罗伯特·舒曼）
04. 巴赫主题赋格曲，作品60号 III. 柔和的声音（罗伯特·舒曼）
05. 巴赫主题赋格曲，作品60号 IV. 中速，但不要太慢（罗伯特·舒曼）
06. 巴赫主题赋格曲，作品60号 V. 活泼地（罗伯特·舒曼）
07. 巴赫主题赋格曲，作品60号 VI. 中速，逐渐加快（罗伯特·舒曼）
08. 锡安山与稳固根基自由幻想曲（威廉·博尔科姆）
09. 格什温兄弟（乔治与艾拉·格什温）
10. 优雅圆舞曲，作品124号第2首（西格弗里德·卡格-埃勒特）
11. 英雄奏鸣曲，作品94号（约瑟夫·容金德）
自1871年3月29日，当时最著名的演奏家W.T.贝斯特（W.T. Best）在维多利亚女王面前为皇家阿尔伯特音乐厅管风琴举行落成仪式以来，以贝斯特本人的管风琴改编曲——门德尔松清唱剧《圣保罗》的序曲作为本专辑的开篇似乎再合适不过。19世纪30年代，门德尔松在圣保罗大教堂及其他地方的管风琴上演奏巴赫作品时，曾受到听众的热烈欢迎，而贝斯特则充分利用了当时人们对管风琴改编曲演奏的浓厚兴趣。在门德尔松的序曲之后，紧接着是舒曼的《六首巴赫主题赋格曲》，其交响性与阿尔伯特音乐厅管风琴的宽广动态范围和音响可能性完美契合。
在博尔科姆的幻想曲中，作曲家将现代创作风格与两首南方灵歌融合，以震撼的效果为两种形式注入新的生命力；在某种程度上，阿尔伯特音乐厅的管风琴也经历了类似的革新——用现代的风箱鼓风机取代了1871年最初的蒸汽引擎，如今它无疑拥有足够的风力应对各种演奏需求——正如您将听到的那样。
在美国，剧院管风琴的演奏传统仍然非常活跃。小时候，我记得在一台需要上发条的便携式留声机上一遍又一遍地播放两张非常古老的唱片——那种留声机使用木制唱针，需要不断削尖。其中一张是乔治·萨尔本-鲍尔（George Thalben-Ball）在亚历山德拉宫管风琴上演奏的《女武神的骑行》，另一张同样是我的最爱，是昆廷·麦克林（Quentin MacLean）在大理石拱门奥迪安剧院管风琴上演奏的格什温《蓝色狂想曲》。五岁时，我无法理解昆廷·麦克林是如何在《蓝色狂想曲》的开头演奏滑音的；显然，他使用了“汽笛”音栓——这种音栓在无声电影中常用于警察与强盗追逐的场景——当他打开管风琴，风进入风箱时，就会产生这种非常流畅的滑音，一直到最高的降E音！
约瑟夫·容金德和西格弗里德·卡格-埃勒特是同时代的人，尽管他们通常被视为管风琴作曲家，但两人在其他领域都多产：交响音乐、合唱与室内乐，甚至歌剧。容金德的音乐创作极为考究，《英雄奏鸣曲》的结构架构和宏伟感，与卡格-埃勒特《优雅圆舞曲》出人意料的细腻感形成了奇妙对比；在此，极其敏锐的听众可能会捕捉到阿尔伯特音乐厅管风琴封闭独奏声部中柔和打击乐音栓带来的意外音效。
Artist: Simon Preston
Title: Orgue restauré du Royal Albert Hall
Year Of Release: 2006
Label: Signum Records
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz +Booklet
Total Time: 01:14:27
Total Size: 308 / 683 mb
WebSite: Album Preview
Tracklist
01. Overture To St. Paul Op.36 (Felix Mendelssohn)
02. Fugues On Bach Op.60 I. Langsam (Robert Schumann)
03. Fugues On Bach Op.60 II. Lebhaft (Robert Schumann)
04. Fugues On Bach Op.60 III. Mit Sanften Stimmen (Robert Schumann)
05. Fugues On Bach Op.60 IV. Ma?ig, Doch Nicht Zu Langsam (Robert Schumann)
06. Fugues On Bach Op.60 V. Lebhaft (Robert Schumann)
07. Fugues On Bach Op.60 VI. Ma?ig, Nach Und Nach Schneller (Robert Schumann)
08. Free Fantasia On O Zion & How Firm (William Bolcom)
09. The Brothers Gershwin (George & Ira Gershwin)
10. Valse Mignonne Op.124 No.2 (Sigfrid Karg-Elert)
11. Sonata Eroica Op.94 (Joseph Jongen)
Since the Royal Albert Hall organ was inaugurated by W.T.Best, the most famous performer of his day, in the presence of Queen Victoria on the 29th March 1871, it seems appropriate to begin this programme with one of Best’s own organ transcriptions: the Overture to Mendelssohn’s Oratorio St Paul. Mendelssohn’s own performances of Bach on the organ in St Paul’s Cathedral and elsewhere during the 1830s had been wildly acclaimed by the crowds who came to hear him and Best took full advantage of the enormous surge in interest in performances of music arranged for the organ. After the Mendelssohn Overture it is but a short step to the symphonic nature of Schumann’s Six Fugues on B-A-C-H, to which the wide dynamic range and sonic possibilities of the Albert Hall organ are ideally matched.
In the Bolcom Fantasia, the composer fuses a modern compositional idiom with two Southern Spirituals, breathing new life into both forms with shattering effect; in a way the same thing has happened to the Albert Hall organ, and with modern blowers for the bellows taking the place of the original steam engines of 1871, it certainly has enough wind now to cope with most contingencies—as you will hear.
In America the traditions of theatre organ playing are still kept very much alive. As a child I remember playing two very old records over and over again on a wind-up portable gramophone—the sort that had wooden needles which you had to keep sharpening.
The first was George Thalben-Ball playing The Ride of the Valkyries on the Alexandra Palace organ, and the other—equally favourite—was Quentin MacLean playing Gershwin’s Rhapsody in Blue on the organ in the Odeon Marble Arch. At the age of five I could not work out how Quentin MacLean did the opening glissando in Rhapsody in Blue; apparently he used the Siren stop—useful for Cops and Robbers chases in the silent movies—switched the organ on and, when the wind went into the bellows, it produced this very smooth glissando up to the top E flat!
Joseph Jongen and Siegfrid Karg-Elert were near contemporaries, and although generally regarded as organ composers, both were prolific in other forms: symphonic music, choral and chamber music and even opera. Jongen’s music is most fastidiously composed and the architectural shape and grandeur of the Sonata Eroïca is in wonderful contrast to the quite unexpected delicacy of Karg-Elert’s Valse mignonne; here the extremely discerning listener may pick up some unexpected sounds of the gentler percussion stops on the enclosed Solo division of the Albert Hall organ.
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发表于 2025-5-23 07:48:13