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艺术家：卡洛·菲伦斯
标题：科斯特：吉他作品全集第六卷：音乐会作品第一辑
发行年份：2025年
厂牌：达芬奇古典唱片
类型：古典吉他
音质：无损FLAC（分轨）
总时长：01:08:20
总大小：248兆字节
网站：专辑预览
曲目单
01. 音乐会回旋曲，作品12
02. 骑士幻想曲“ tournoi”，作品15
03. 回忆，作品17：第一首，奥尔南谷，如歌的行板与回旋曲
04. 回忆，作品18：第二首，莱茵河畔，圆舞曲
05. 回忆，作品19：第三首，德尔夫济尔，谐谑曲
06. 回忆，作品19c：第三首b，练习曲
07. 回忆，作品20：第四首，须德海，叙事曲
08. 回忆，作品21：第五首，钟声，赋格与回旋曲
09. 回忆，作品22：第六首，默伦，行板与圆舞曲
10. 回忆，作品23：第七首，欧特伊的夜晚，小夜曲
11. 离别，戏剧性幻想曲，作品31
生平
拿破仑·科斯特于1805年6月27日出生在法国东部杜省的阿蒙当，这一日期直到1982年才得以确认。他在奥尔南地区长大，后来为该地区创作了多首作品。1813年，他随父亲（一名法国军队的上尉）来到荷兰小镇德尔夫济尔，途经须德海并穿越莱茵河。这些地方的记忆后来在他的作品《回忆》中得以重现。1826年，他在瓦朗谢讷开启了吉他演奏生涯，年轻时曾在那里生活、创作，并与巡回演奏家萨格里尼共同举办音乐会。1828年底，他定居巴黎，几乎在那里度过了整个艺术生涯。在这个重要音乐发展的中心，他加入了来自瓦朗谢讷的音乐家圈子，以及著名吉他手的圈子，其中索尔对他影响重大——他跟随索尔学习和声与对位法，并成为朋友，还一同举办音乐会。受柏辽兹音乐戏剧创作的启发，他在巴黎的生活在多首标题性作品中得以体现。
他发展自己的艺术天赋，参加各类音乐会，演奏自己的作品，其中大部分由知名出版商或他自己（chez l’auteur）出版。他的演奏和创作在当时新兴的音乐期刊中受到赞誉，但吉他作为一种乐器普遍不受重视，以至于在他有生之年逐渐从音乐舞台上消失。科斯特来到巴黎时，吉他非常流行且演奏水平很高，这从当时众多的吉他教程中可见一斑。但该乐器主要在业余爱好者中流行，导致更多艺术性的作品难以出版。因此，科斯特为教学和商业目的创作和改编了许多流行音乐。作为吉他教师，他有许多学生，1851年他修订了索尔的教程，这是巴黎出版的最后一批教程之一，被称为《科斯特-索尔教程》。1841年，他加入学术性的阿波罗之子协会，1843年加入音乐共济会分会“不可分割的兄弟会”，进入上层社会音乐圈，在那里他用制琴师拉科特为他制作的七弦吉他演奏音乐会，他的许多作品都是为这种乐器而作。本张唱片中的录音由卡洛·菲伦斯使用勒内·拉科特1855年制作的一把原版七弦吉他演奏，这把吉他与科斯特设计的完全一致。他的声誉达到国际水平，来自斯德哥尔摩、哥本哈根、里加和圣彼得堡的崇拜者纷纷到巴黎拜访他。1856年，俄罗斯吉他演奏贵族马卡罗夫在布鲁塞尔举办了吉他创作与制作比赛，科斯特提交了五首作品，其中《大小夜曲》作品30获得二等奖，仅次于默茨的《小协奏曲》。但他并未利用这一荣誉作为吉他演奏家周游欧洲，而是回到巴黎，且遗憾地继续担任市政管理员的工作，直到1875年退休。他的学生减少，不得不自己出版作品，此外，他的左肩膀先后于1863年和1874年两次受伤，但仍继续参加音乐会。
约1872年，他的《风格练习曲》作品38由里绍出版社出版，并题献给许多学生，其中包括他1871年在普鲁士占领巴黎期间娶的路易丝·奥利芙·波伊尔。晚年，他仍像以前一样创作杰作，同时也创作更多教学性和简单的作品，但这些作品仍是他浪漫风格的典范。他于1883年1月14日去世，作品被崇拜者收集，但从音乐会曲目中消失，只有少数练习曲在吉他手中广为人知，直到1981年西蒙·温伯格出版他的全集，才重新引起人们对他作品的关注，从那时起，他的作品在音乐会上越来越多地出现，这一点在卡洛·菲伦斯目前的系列录音中尤为明显。
作品
科斯特的音乐展现了浪漫主义风格的广泛特征。除主题与变奏体裁外，科斯特选择用新的音乐理念或对这些理念的变化重复来延续创作，这使他的作品具有插曲性或狂想曲的特点。随着时间的推移，他的作品显示出越来越多的浪漫主义特征，呈现出强烈浪漫主义和轻松浪漫主义作品交替的时期，后者更具教学或商业目的。
浪漫主义在科斯特音乐中的重要性主要体现在和声方面，其特点是织体的复杂性和强度。他对变化音和弦与不和谐音的使用可与李斯特相提并论，和声进行与柏辽兹相似，和声自由性与肖邦相近，带或不带共同音的半音转调可与舒伯特媲美。在旋律方面，装饰音最为重要，体现了他音乐中的技巧性。他的织体虽非模仿，却可与肖邦的装饰音和乐段相联系，半音化手法与舒伯特相似，高超的演奏技巧与李斯特相当——所有这些都与他对乐器的出色掌控有关，他在索尔的原则基础上拓展了技术可能性的极限。
在音乐表达上，力度和发音方式为情感表达增色，这里可从外部联想到肖邦的声乐滑音和舒伯特的咏叹调风格。除可能受西班牙音乐影响（可视为异国情调）外，几乎没有其他异国情调的元素。在科斯特的浪漫主义音乐中，故事、民间传说和休止符的使用为音乐增添了叙事性，在这里，历史主义在他的标题性作品中发挥了作用，这些作品如同柏辽兹的作品一样，体现了音乐的戏剧性。鉴于所有这些方面，科斯特可被视为19世纪中叶巴黎浪漫主义音乐发展的核心人物。诚然，用他自己的话说，他是为一种普通乐器创作的普通作曲家，但在他的杰作中，拿破仑·科斯特成功地将浪漫主义吉他音乐提升到了一个新的高度。在浪漫主义吉他音乐的三位伟大作曲家（默茨、扎尼·德·费兰蒂和科斯特）中，科斯特可被视为最重要的一位。科斯特在音乐上超越了其他两位，懂得如何在音乐中表达丰富多彩的浪漫主义元素，而他强烈的和声写作进一步增强了这种表达。他的作品多样且多变，无论从整体还是细节上看，都对听众、演奏者和分析者具有吸引力。从他早期已显露出些许激昂风格的作品开始，到19世纪中叶创作出杰作（马卡罗夫比赛作品在其中扮演重要角色），可见其巨大的发展。他对技巧性和复杂性的处理微妙而合乎逻辑，使他的音乐达到了很高的技术水平，且从未以牺牲演奏效果为代价，科斯特全力关注的音乐表达也因此走向成熟。通过分析和定义标准，他音乐中的浪漫主义在此研究中得以清晰呈现，这些前提和结果可作为研究扎尼和默茨作品的起点，进一步证明科斯特对浪漫主义吉他音乐的重要性。
阿里·范·弗利特博士
拿破仑·科斯特传记作者：19世纪巴黎音乐生活中的作曲家与吉他演奏家
第六卷：音乐会作品第一辑
本卷收录了拿破仑·科斯特为音乐会曲目贡献的一些最优秀作品，包括一些雄心勃勃的作品（作品15、作品31）和一些较为简单的作品（作品17-23），但这些简单作品仍充分展现了他的风格和吉他写作的精湛技艺。这些作品的创作跨越了15年，在此期间，科斯特确立了自己作为费尔南多·索尔继承人的地位，他出版的吉他教程《科斯特-索尔教程》通过这位年轻法国弟子的视角，成为索尔学派的真实见证，巩固了这一地位。
作品12可能创作于1840年，是一首充满趣味的回旋曲，以减三和弦和华丽的引子戏剧性地开场。与精心设计、情绪不断变化且织体多样的开场形成对比的是，主题听起来自然而简单，展现出一种吉他写作风格，既辉煌又富有技巧性，同时又不失科斯特最佳作品中典型的灵感 simplicity。
作品15《骑士幻想曲“ tournoi”》是一部更为复杂精细的作品，从它题献给19世纪中叶巴黎音乐生活中最重要的人物之一—— Hector Berlioz 便可猜出这部作品对年轻作曲家的重要性。这位法国领军作曲家在交响诗（一种从多种来源汲取灵感的标题音乐）的定义中扮演了主要角色，他（和所有浪漫主义者一样）也对沃尔特·斯科特等作家笔下浪漫化的中世纪充满兴趣。当我们欣赏《骑士幻想曲“ tournoi”》时，这些参考元素的相互作用至关重要，作品有着明确的骑士主题。开场通过引入小号和圆号的号角声（模仿其他乐器一直是吉他的常见手法，索尔和科斯特本人都有描述）描绘了场景，随后作品以庄严的主题展开，进入多个情节，尽管没有遵循特定的叙事，但通过不同的情绪清晰地讲述了一个故事。这是一部复杂且具有挑战性的作品，标志着科斯特写作技巧的一大进步。
七首《回忆》（作品17-23，加上第三首之后补充的一首练习曲，编号为作品19c）是另一种将交响诗体裁改编为吉他曲的尝试。这一次，它是一次穿越想象中作曲家心中珍视之地的理想之旅，这些地方既有当今的法国，也有荷兰。圆舞曲是科斯特的最爱，也是这组作品中占主导地位的体裁，这意味着这种形式很容易与吉他演奏家生活中快乐而有意义的时刻联系在一起。
旅程始于作曲家度过童年的奥尔南，分为两部分，先是沉思般的如歌引子，随后是《山区居民》，这是一首回旋曲，中间有一段长长的E小调插曲。作品18将我们带到《莱茵河畔》，这是一首欢快的圆舞曲，形式不规则，通过使用持续低音效果暗示民间音乐，一段号角声既宣告了作品的开始，也预示了随后的D大调插曲。作品19描绘的德尔夫济尔是现代荷兰的一个城市，但曾被法国军队占领数十年，拥有著名的（现已不复存在的）堡垒，这座城市的军事历史可能在作品开头D小调激烈的谐谑曲中得以体现，当调式转为D大调时，谐谑曲变成了一首真正的圆舞曲。《须德海》是一首叙事曲，指的是浪漫主义作曲家（尤其是肖邦）自由重新诠释的插曲性诗歌形式，它再次描绘了现代荷兰的风景，这片内陆海的危险在D小调引子中得到了很好的描绘，随后进入多个情节的圆舞曲和技巧性的终曲。作品21《钟声》与某个具体地点的联系更为松散，是科斯特作品中的罕见之作，因为它包含了他作品中为数不多的学术形式之一：引子是一首赋格曲（更确切地说是赋格段），带有模仿和转调段落，随后的回旋曲用带有钟鸣效果的琶音主题模仿钟声。组曲的最后两首作品，作品22《默伦》和作品23《欧特伊的夜晚》以法国为背景，描绘的都是巴黎周边的小村庄，我们可以猜测作曲家在那里度过了愉快的时光。《默伦》是一首相当普通的圆舞曲，前面有引子，中间穿插着自由的插曲，而作品23则更为复杂和狂想，以小夜曲开始，发展成谐谑圆舞曲，听起来像是科斯特最喜欢的圆舞曲之一。
科斯特本人（见作品31吉罗德版本的前言）告诉我们，《离别》本应入选前面提到的1856年马卡罗夫比赛，但在提交截止日期后才完成。这个轶事告诉我们，作曲家在创作这部本应充分展示其能力的作品时倾注了多少心血。事实上，这是科斯特为数不多的进入现代曲目的作品之一，部分原因在于E调便于转调到六弦吉他上。这是对法国军队出征（和返回）克里米亚战争的生动音乐演绎，这一主题使其牢牢地置于科斯特时代欧洲政治和文化生活的背景中。这部作品巧妙地平衡了技巧性元素和情感表达时刻，其形式统一性在同时期作品中罕见。
Artist: Carlo Fierens
Title: Coste: Complete Guitar Works Vol.6: Pièces de concert I
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical Guitar
Quality: flac lossless (tracks)
Total Time: 01:08:20
Total Size: 248 mb
WebSite: Album Preview
Tracklist
01. Rondeau de concert, Op. 12
02. Le Tournoi, Fantaisie chevaleresque, Op. 15
03. Souvenirs, Op. 17: No. 1, La Vallée d’Ornans, Cantabile et Rondeau
04. Souvenirs, Op. 18: No. 2, Les bords du Rhin, valse
05. Souvenirs, Op. 19: No. 3, Delfzil, scherzo
06. Souvenirs, Op. 19c: No. 3b, Etude
07. Souvenirs, Op. 20: No. 4, Le Zuyderzée, Ballade
08. Souvenirs, Op. 21: No. 5, Les Cloches, Fugue et Rondeau
09. Souvenirs, Op. 22: No. 6, Meulan, Andante et valse
10. Souvenirs, Op. 23: No. 7, Les Soirées d’Auteuil, Sérénade
11. Le Départ, Fantaisie Dramatique, Op. 31
Life
Napoléon Coste was born on the 27th of June 1805 in Amondans in the department of Doubs in eastern France, a date that was not established until 1982. He grew up in the neighbourhood of Ornans, to which he later dedicated several compositions. In 1813 he was in the Dutch town of Delfzijl with his father, a captain in the French army, he passed the Zuiderzee and crossed the river Rhine. The memory of these places returned in his compositions, the Souvenirs. He started his career as a guitarist in 1826 in Valenciennes, where he lived as a youth, began to compose, and played in a concert with the travelling virtuoso Sagrini. At the end of 1828 he settled in Paris, where he stayed for almost the rest of his artistic career. There, in the centre of important musical developments, he joined the circles of musicians who originated from Valenciennes, and also of famous guitarists, among whom Sor became of great importance to him, as he studied harmony and counterpoint with him and became his friend, joining him in concerts. His life in Paris is expressed in several programmatic compositions, after Berlioz’ invention of musical drama.
He developed his artistic talent, participated in mixed concerts, where he played his own compositions, most of which were published by well-known publishers or by himself, chez l’auteur. His performance and compositions were praised in the upcoming musical journals of the time, but the guitar as an instrument was generally disdained, in such a way that it eventually disappeared from the musical scene during his lifetime. When Coste came to Paris, the guitar was very popular and was played at a high level, as can be seen in the many guitar methods of the time. But the instrument became popular among amateurs mostly, causing more artistic compositions to become difficult to publish. Therefore, Coste composed and arranged much popular music for pedagogical and commercial purpose. As a guitar teacher he has many pupils and he made a revision of Sor’s method in 1851, one of the last methods published in Paris, known as the Méthode Coste-Sor. He entered upper class musical society upon joining the Société académique des Enfants d’Apollon in 1841 and the musical freemasons’ lodge Les Frères Unis Inséparables in 1843, where he gave concerts on his heptacorde, the seven-string guitar made for him by the luthier Lacôte. Many of his compositions were meant for this instrument. The recordings of this compact disc are performed by Carlo Fierens on an original heptacorde made by René Lacôte in 1855, which matches the very same heptacorde Coste designed. His fame reached international level and he was visited in Paris by admirers from Stockholm, Copenhagen, Riga, and St. Petersburg. In 1856 the Russian guitar-playing nobleman Makaroff opened a contest for guitar composition and construction in Brussels. Coste sent in five compositions, out of which his Grande Sérénade opus 30 wan second prize, coming in after Mertz’s Concertino. He made no use of this laureate to travel through Europe as a guitar virtuoso, but returned to Paris, and also, to his own regret, to the job he had as an administrator at the municipality, from which he was pensioned in 1875. He had fewer pupils, had to publish his works by himself, and moreover injured his left shoulder twice, first in 1863, then again in 1874, but nevertheless he continued to perform in concerts.
His Éudes de Genre opus 38 were published by Richault c. 1872 and were dedicated to many of his pupils, among them Louise Olive Pauilhé, who he married in 1871, during the Prussian occupation of Paris. In his last years he still composed masterpieces as before, but also more didactic and easy pieces, which nevertheless are fine examples of his Romantic style. He died on 14 January 1883. His works were collected by admirers but disappeared from the concert repertoire. Only a few of his studies remained well known among guitarists, until Simon Wynberg publishes his complete works in 1981, opening up new attention for his oeuvre, that appears more and more in concert life since that time. This is becoming evident in the present series of recordings by Carlo Fierens.
Work
The music of Coste displays a wide spectrum of characteristics of the Romantic style. The theme and variation genre aside, Coste chooses to continue the composition with new musical ideas or varied repetition of these, which gives his works an episodic or rhapsodic character. Over time his compositions show more and more Romantic characteristics. There is a wave of periods with strong Romantic and light Romantic compositions. The latter have a more didactic or commercial purpose.
The importance of Romanticism in Coste’s music is reflected mostly in aspects of harmony, wherein complexity and intensity of texture are characteristic. His use of altered chords and dissonances can be related to that of Liszt, his harmonic progressions to those of Berlioz, his harmonic freedom to that of Chopin. His chromatic modulations, with or without common tone, are comparable to those of Schubert. In melody the figurations are most important, showing the aspect of virtuosity in his music. Without being an imitator, his texture can be related to the figuration and passages of Chopin, his practice of chromaticism with that of Schubert, his high level of playing technique to that of Liszt – all this connected to his great control of the instrument, with which he expands the limits of technical possibilities, based on the principles of Sor.
In musical expression, dynamics and articulation contribute to the emotion. Here external references can be made to the vocal portamento of Chopin and the arioso of Schubert. Few indications to exoticism are found, except perhaps influences from Spanish music that could be considered exotic. In the Romanticism of Coste story as well as folklore and the use of rests contribute to the narrative character of his music. Here, historicism plays a role in his programmatic works, which represent, just as with Berlioz, musical dramatics. For all these aspects, Coste can be placed at the centre of the musical developments appearing in Romantic music in Paris in the middle of the 19th century. True enough, in his own words, a modest composer for a modest instrument, in his masterpieces, Napoléon Coste has succeeded in elevating Romantic guitar music to a high level. Among the great three composers of Romantic guitar music, with Mertz and Zani de Ferranti, Coste can be considered as most important. Coste surpasses the other two in a musical way and knows how to express a multifaceted palette of Romantic elements in his music, which is further enhanced by his intensive harmonic writing. His work is versatile and varied, attractive to the listener, player, and analyst in both its broad lines and its details. From his early works on, which already show some boisterousness, a great development leading to his masterworks can be seen in the middle of the century, in which the Makaroff compositions play a major role. His approach towards virtuosity and complexity is of such a delicate and logical nature that his music attains a high technical level, never at the cost of performance. The musical expression, to which Coste gives his full attention, comes to maturity this way. In this study the Romanticism in his music becomes transparent, by way of analysis and defining criteria. These premises and results can be used as a starting point for research into the works of Zani and Mertz, to further demonstrate the importance of Coste for Romantic guitar music.
Dr. Ari van Vliet
Biographer of Napoléon Coste: Composer
and Guitarist in the Musical Life of 19th-century Paris
Vol. 6: Pièces de concert I
This volume collects some of the finest contributions to the concert repertoire by Napoléon Coste. It features some ambitious works (op. 15, op. 31) and some simpler pieces (opp. 17-23) that nevertheless express his style and masterfulness in guitar writing at the finest degree. Their composition spanned over 15 years, during which Coste was imposing himself as the heir of Fernando Sor, a position that he consolidated with the publication of the Methode for guitar, a true testament to Sor’s school, seen through the lenses of his younger French disciple.
Op. 12, probably composed in 1840, is a playful Rondo that opens dramatically with a diminished chord and a flamboyant introduction. In contrast to the elaborated opening, with constant mood changes and variety in texture, the theme sounds spontaneous and simple, displaying a guitar writing which manages to be brilliant and virtuosic without losing the simplicity of inspiration that is typical of the best examples of Coste’s style.
Le Tournoi, Op. 15, is a far more elaborated and complex work, and we can guess how dear it was to the young composer by its dedication to one of the most important figures of Paris’ music life of the mid Eighteen Hundreds: Hector Berlioz. The French leading composer was the one who played a major role in the definition of tone poem, program music that drew inspiration from a variety of sources. He also had a great interest (like all the romantics) in a romanticized view of the Middle Ages by authors such as Walter Scott. This interplay of references is crucial when we approach Le Tournoi, with its clear chivalrous theme. The opening depicts the scenario by introducing a fanfare with trumpets and horns (the mimesis of other instruments had always been a common cliché of the guitar, described by Sor and Coste himself). The piece then proceeds through a Maestoso theme that opens a variety of episodes, through different moods that, although not following a determined narrative, clearly tells us a story. It is a complex and challenging piece that marks a step forward in Coste’s writing technique.
The seven Souvenirs, opp. 17-23 (plus an étude that complete the page after the third one, thus catalogued as op. 19c) are another attempt to adapt the genre of the tone poem to the guitar. This time, it is an ideal journey through locations that we can imagine were dear to the composer’s heart, both in present-day France and the Netherlands. The waltz, Coste’s favorite, is the genre that is predominant in the collection, meaning that this form was easily associated with happy and meaningful moments of the guitarist’s life.
The journey begins in Ornans, where the composer spent his childhood. It is divided in two parts, a meditative cantabile introduction followed by les Montagnards, a Rondo that features a long central episode in E minor. Op. 18 brings us to Les bordes du Rhin, an uplift waltz with an irregular form that alludes to folkloric music by the use of bourdons effects. A fanfare announces both the beginning of the piece and the subsequent episode in D major. Delfzil, portrayed in op. 19, is a city in modern days’ Netherland, but it was for decades in the hands of the French troops, with its famous (no longer existent) fortress. The military story of the town is probably evoked in the stürmisch scherzo in D minor that opens the piece, a scherzo that becomes a proper waltz when the key moves to D major. Le Zuyderzée is a ballade, referring to the episodic poetic form as freely reinterpreted by romantic composers (Chopin above all). It is once again a landscape in modern days Netherlands, the inland sea whose dangers are well depicted in the D minor introduction, before leading to a waltz in several episodes and a virtuosic finale. Les Cloches, op. 21 is more loosely connected to a precise place, and it is a rarity in Coste’s production in that it features one of the very few learned forms in his works: the introduction is a fugue (rather a fugato) with imitations and modulating sections. The Rondeau that follows imitates the bells with its arpeggiated theme with campanella effects. The two last pieces of the set, op. 22 Meulan and op. 23 Les soirées dans Auteil have a French setting, both being depictions of small villages in the surroundings of Paris, where we can guess the composer had a pleasant time off. Whereas Meulan is a rather plain waltz preceded by an introduction and interspersed with free episodes, op. 23 is much more complex and rhapsodic, starting as a serenade and developing into a Scherzo-waltz, sounding like some of Coste’s valses favorites.
We are informed by Coste himself (see the foreword to the Girod edition of Op. 31), that Le Départ was meant to be among the pieces selected to the already mentioned Makaroff competition of 1856, but it was completed only after the submission deadline. This anecdote tells us how much care was put into the composition of a piece that was supposed to display the composer’s ability at its best. In fact, it is one of the very few Coste’s pieces that made it to modern days’ repertoire, also due to the fact that the key of E facilitate the transposition to the six strings instrument. It is a vivid transposition into music of the departure (and return) of the French troops to the Crimea war, a theme that places it firmly in the context of the political and cultural life of Coste’s days Europe. The pieces remarkably balances virtuosic elements and expressive moments, with a formal unity that is seldom to be found in contemporary pieces.
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发表于 2025-6-10 08:15:41