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艺术家：塔姆辛·韦利-科恩
标题：理查德·布莱克福德：《尼奥贝》
发行年份：2018年
厂牌：Signum Classics
类型：古典音乐
音质：24位-96千赫兹FLAC/FLAC（分轨）
总时长：23分08秒
总大小：435兆字节/105兆字节
网站：专辑预览
曲目列表
1. 《尼奥贝》：第一乐章 爱人尼奥贝 06:43
2. 《尼奥贝》：第二乐章 亵渎者尼奥贝 04:34
3. 《尼奥贝》：第三乐章 恳求者尼奥贝 04:08
4. 《尼奥贝》：第四乐章 哀悼者尼奥贝 07:43
演奏者：
塔姆辛·韦利-科恩（小提琴）
捷克爱乐乐团
本·热尔农（指挥）
《尼奥贝》是理查德·布莱克福德为小提琴家塔姆辛·韦利-科恩创作的小提琴与管弦乐作品，在这张Signum Classics的新专辑中，由韦利-科恩与捷克爱乐乐团在本·热尔农指挥下演绎。这部作品是一首23分钟的单乐章交响音乐，专辑中单独呈现。
布莱克福德的灵感源于尼奥贝的神话：她自夸比美德女神勒托更伟大，因自己有七子七女，而勒托仅有两个孩子。勒托派阿波罗与阿尔忒弥斯杀死尼奥贝的所有子女，尼奥贝的丈夫因悲痛自杀，她本人则化为石像，永世哭泣。
作品在构思时充分考虑了塔姆辛·韦利-科恩的演奏特点，布莱克福德与她的探讨还涉及尼奥贝的故事与当代女性遭受不公的处境之关联，包括在极端宗教法律下受苦的女性，以及西方社会对女性的双重标准。
这部被称为“小提琴与管弦乐戏剧性交响曲”的作品并非严格意义上的19世纪小提琴协奏曲。小提琴时而引领乐声，时而融入管弦乐织体，布莱克福德在曲目注释中描述独奏者如何被乐团“追逐”。然而，韦利-科恩的小提琴声常以甜美之姿凌驾于乐团之上，既有感性时刻，亦具戏剧张力。
作品并非严格遵循标题音乐的单一叙事脉络，而是分为四个段落：“爱人尼奥贝”“亵渎者尼奥贝”“恳求者尼奥贝”“哀悼者尼奥贝”。布莱克福德为大型管弦乐团而作，音乐充满想象力且织体丰富，其核心蕴含结构感（注释中提及反向奏鸣曲式结构及动机变形与发展手法）。但听众首先注意到的，是布莱克福德浓郁浪漫的音乐语言与高度成熟的色彩感，这一切均融入复杂的和声语言，将抒情性与和声的复杂性巧妙结合。
尽管布莱克福德的和声风格具有现代性，但浪漫主义与抒情性仍是作品的基调，这或许得益于塔姆辛·韦利-科恩那如歌唱般甜美的小提琴音色。这种特质在终乐章的诡异寂静中尤为突出，仿佛让人感受到尼奥贝化为石像的瞬间。
本·热尔农与捷克爱乐乐团的演绎堪称典范，毫无摸索之感。事实上，捷克乐手真正照亮了布莱克福德的创作，赋予其内在的光辉。这并不意外：乐团委约了这部作品，并于2017年11月11日首演，两天后即在布拉格鲁道夫inum音乐厅的德沃夏克厅完成录音。
Artist: Tamsin Waley-Cohen
Title: Richard Blackford: Niobe
Year Of Release: 2018
Label: Signum Classics
Genre: Classical
Quality: FLAC 24bit-96kHz / FLAC (tracks)
Total Time: 23:08
Total Size: 435 / 105 Mb
WebSite: Album Preview
Tracklist:
1. Niobe: I. Niobe The Lover 06:43
2. Niobe: II. Niobe The Blasphemer 04:34
3. Niobe: III. Niobe The Pleader 04:08
4. Niobe: IV. Niobe The Mourner 07:43
Performers:
Tamsin Waley-Cohen (violin)
Czech Philharmonic Orchestra
Ben Gernon (conductor)
Niobe is a work for solo violin and orchestra by Richard Blackford which was written for the violinist Tamsin Waley Cohen, who performs it on this new disc from Signum Classics with the Czech Philharmonic Orchestra conducted by Ben Gernon. The work is a single 23-minute span of symphonic music, which is here issued on disc on its own.
Blackford is inspired by the story of Niobe, who boasts that she is greater than the goddess of virtue, Leto, because Niobe has seven sons and seven daughters whereas Leto only has two. Leto sends Apollo and Artemis to kill all Niobe's children, Niobe's husband kills himself devastated, and Niobe is turned to stone and weeps ceaselessly.
The work was very much planned with Tamsin Waley-Cohen in mind and Blackford's discussions with her also touched on the way the story of Niobe relates to the plight of women unfairly treated in our own time, both those suffering under extreme religious laws and the double standard applied to Western women.
Described as a dramatic symphony for violin and orchestra, the work is not strictly a violin concerto in the 19th century sense.
At times the violinist leads but at other times she is subsumed and Blackford in his programme note describes how the soloist is hounded by the orchestra. The voice of Tamsin Waley Cohen's violin, though, is frequently heard soaring sweetly over the orchestra, and there are sensual as well as dramatic moments.
The work is not strictly programmatic, in the sense that there is no single thread of narrative, instead Blackford divides the piece into four sections, Niobe The Lover, Niobe the Blasphemer, Niobe the Pleader and Niobe the Mourner.
Blackford writes for a large orchestra and this is a richly imaginative and often richly textured work. Underlying everything is a sense of structure (Blackford's note talks about the reverse sonata-form structure and his use of motivic transformation and development). But what the listener will notice first is the richly romantic texture of Blackford's language and his highly developed sense of colour, all within the context of a complex harmonic language which combines lyricism with harmonic complexity.
Yet despite the modernity of Blackford's harmonic style, the sense of romanticism and lyricism is what colours the piece. Perhaps it is the influence of Tamsin Waley Cohen's wonderfully sweet singing violin. And this comes to its own in the eerie stillness of the final movement as well experience Niobe being turned to stone.
The performance from Ben Gernon and the Czech Philharmonic Orchestra is exemplary, with no sense that they are finding their way. In fact, the Czech players really illuminate Blackford's writing and give it an inner glow. This is no surprise, the orchestra commissioned the work and they premiered it oon 11 November 2017, two days before the recording was made in their home, the Dvorak Hall in the Rudolfinum in Prague.
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发表于 2025-6-8 08:36:24