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艺术家：英国广播公司爱乐乐团、吉安安德烈亚·诺塞达
标题：鲁菲纳查：第六交响曲与《墨西拿的新娘》序曲
发行年份：2011年
厂牌：钱多斯
流派：古典
音质：无损FLAC / 24位-96.0千赫兹FLAC + 手册
总时长：01:11:02
总大小：303兆字节 / 1.19吉字节
网站：专辑预览
曲目列表
01. 《墨西拿的新娘》序曲
02. D大调第六交响曲：第一乐章 广板 - 火热的快板
03. D大调第六交响曲：第二乐章 谐谑曲 不太快的快板
04. D大调第六交响曲：第三乐章 广板
05. D大调第六交响曲：第四乐章 中板快板
这是计划中三部曲的第一卷，旨在呈现奥地利作曲家约翰·鲁菲纳查鲜为人知却绚丽多彩的音乐。这里演绎的作品此前从未被录制过，由英国广播公司爱乐乐团在吉安安德烈亚·诺塞达——这位钱多斯专属艺术家的指挥下呈现。二者长期合作，以演奏精准饱满、音乐诠释有力著称。
尽管如今人们对约翰·鲁菲纳查知之甚少，但在他的时代，他在维也纳最高音乐圈占据一席之地，其管弦乐、室内乐和钢琴作品广受赞誉，有人甚至预言他前途无量。他是受人尊敬的教师，也是勃拉姆斯的挚友——而勃拉姆斯绝非会轻易容忍音乐庸才的人。鲁菲纳查的音乐（此处以两部后期作品为代表）丰富且富有戏剧性，自始至终流淌着充满表现力的旋律。他的管弦乐作品规模宏大、内容充实，展现出自信且无拘无束的音乐思维。然而，在完成第六交响曲（即此专辑所录作品）后，他的创作量显著减少，转而将精力更多投入教学，尤其在钢琴与和声学领域影响深远，学生包括钢琴家朱利叶斯·爱泼斯坦和钢琴作曲家伊格纳西·布鲁尔。
我们不知道是什么促使鲁菲纳查创作《墨西拿的新娘》序曲，但14分钟的长度显然不是为了戏剧演出。这首序曲规模过大（不止在时长上），无法作为成功的开场曲。它是一部厚重且极具感染力的作品，完美概括了弗里德里希·席勒戏剧《墨西拿的新娘》的故事情节。对比鲜明的开头奠定了整部歌剧的悲剧基调，随后中提琴与大提琴奏出的温柔抒情主题，象征着席勒笔下被两兄弟爱慕的比阿特丽斯——而两人都不知道她实际上是他们的妹妹。兄弟间逐渐升级的冲突通过极具特色的小号演奏得以展现。
第六交响曲是一部成熟且对比丰富的作品，毫无作曲家创作衰退或即将面临衰退的迹象。尽管如此，它仍是鲁菲纳查在全身心投入教学前创作的最后几部作品之一。在舒伯特风格的宏大开场全奏后，充满活力的“火热的快板”占据中心位置，接着是旋律动人、富有感染力的谐谑曲，以及由单簧管、巴松管、中提琴和大提琴烘托出阴郁氛围的广板，最终终乐章渐入坚定而激昂的尾声，只留给我们一个疑问：约翰·鲁菲纳查后来究竟发生了什么？
Artist: BBC Philharmonic, Gianandrea Noseda
Title: Rufinatscha: Symphony No. 6 & The Bride of Messina Overture
Year Of Release: 2011
Label: Chandos
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:11:02
Total Size: 303 mb / 1.19 gb
WebSite: Album Preview
Tracklist
01. Die Braut von Messina Overture
02. Symphony No. 6 in D major: I. Largo - Allegro con fuco
03. Symphony No. 6 in D major: II. Scherzo. Allegro ma non troppo
04. Symphony No. 6 in D major: III. Largo
05. Symphony No. 6 in D major: IV. Allegro moderato
BBC Philharmonic, Gianandrea Noseda - Rufinatscha: Symphony No. 6 & The Bride of Messina Overture (2011) [Hi-Res]
This is Volume 1 of a planned series of three, bringing to life the rarely heard but colourful music of the Austrian composer Johann Rufinatscha. The works presented here have never been recorded before, and are performed by the BBC Philharmonic Orchestra under Gianandrea Noseda, an exclusive Chandos artist – a partnership of long standing, noted for the precision and fullness of their sound as well as for the strength of their musical interpretations.
Although very little is known of Johann Rufinatscha today, in his time he held an established place in Vienna’s highest musical circles and enjoyed considerable acclaim for his orchestral, chamber, and piano works, some even predicted for him a stellar future. He was a respected teacher and a great friend of Brahms who was not a man to suffer musical fools gladly. The music of Rufinatscha, represented here by two later works, is rich and dramatic, with expressively charged melodies running throughout. His orchestral works are ambitious in scale, strong in content, and suggest a confident, refreshingly unfettered musical mind. Still, his output tailed off strikingly after he completed his Sixth Symphony (recorded here), and he increasingly devoted his energies to teaching, especially piano and harmony, in which he exerted a significant influence – pupils included the pianist Julius Epstein and the pianist-composer Ignaz Brüll.
We do not know what prompted Rufinatscha to write his Overture The Bride of Messina, but at fourteen minutes it would not have been the prospect of a theatrical performance. The overture is far too large – in more senses than one – to function successfully as a curtain raiser. It’s a substantial and very powerful piece that sums up the storyline of Friedrich Schiller’s play Die Braut von Messina perfectly. The richly contrasted opening sets the overall tragic mood of the opera, while the tellingly tender lyrical theme, set on violas and cellos, that follows is symbolic of Schiller’s character Beatrice who is loved by two brothers, neither of whom is aware that she is in fact their sister. The conflict that builds between the brothers throughout is portrayed through characteristically fine trumpet writing.
Symphony No. 6 is an accomplished and richly contrasted work that bears no sign of a composer in decline or about to face it. Nonetheless, it is one of the very last works that Rufinatscha composed before dedicating his time solely to teaching. Following an imposing, Schubert-inspired opening tutti, a bracing Allegro con fuoco takes centre stage. Then follows a melodic and infectious Scherzo, and a sombre Largo coloured by clarinets, bassoons, violas, and cellos, before the finale builds to a resolute and rousing conclusion that only leaves us wondering: What happened to Johann Rufinatscha?
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