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艺术家：弗朗西斯卡·伊迪尼，埃里克·巴塔利亚，莱蒂齐亚·古利诺
标题：马图奇，托斯蒂：我的回忆
发行年份：2025年
厂牌：达芬奇古典
流派：古典
音质：无损FLAC（音轨）
总时长：01:05:32
总大小：265MB
网站：专辑预览
曲目列表
01. g小调小提琴奏鸣曲，作品22：第一乐章 热情的快板
02. g小调小提琴奏鸣曲，作品22：第二乐章 稍快的行板
03. g小调小提琴奏鸣曲，作品22：第三乐章 极快板
04. 三首歌曲：第一首，幻影！
05. 三首歌曲：第二首，再见
06. 三首歌曲：第三首，我的回忆
07. 回忆之歌，作品68b：第一首，“不……梦想并未消逝……”
08. 回忆之歌，作品68b：第二首，“小溪唱着欢快的歌……”
09. 回忆之歌，作品68b：第三首，“金雀花……”
10. 回忆之歌，作品68b：第四首，“海面上的小船……”
11. 回忆之歌：第五首，“一阵轻柔的低语向我传来……”
12. 回忆之歌：第六首，“在茂密的森林里，宁静的树荫下……”
13. 回忆之歌，作品68b：第七首，“不，梦想并未消逝……”
在音乐的基本过程中，记忆占据着重要地位。正如圣奥古斯丁所断言、卡洛·罗韦利（字面意义上）所提醒我们的那样，没有记忆，就无法构想音乐，无法记住前一个音符并每次将其与下一个音符联系起来。没有记忆，也就没有对音乐的诠释；最终，也不可能有对音乐的聆听。甚至我们在记忆中重构一个主题的方式，都与重现玛德琳蛋糕的味道有所关联：那些在无声却有效的表达中被激活的感受器。因此，音乐本身似乎常常想要回报这位沉默的姐妹，而大多数时候，它是通过涉及姐妹艺术——诗歌来实现的。无数的德国艺术歌曲和法国艺术歌曲，都从记忆那不确定的领域中汲取文字与音乐，无论这些记忆是理想化的还是非理想化的，是受诅咒的还是受祝福的。一如既往，德语为该地区的音乐增添了额外的深度：“回忆”一词对黑格尔而言，本身就是一种“向内探索”，一种在多变的重压下深入到最遥远自我的过程。舒伯特或沃尔夫的艺术歌曲常常体现出这种心理层面。但在那种富有哲思的记忆与劳埃德-韦伯或伯格曼在芭芭拉·史翠珊著名的《回忆》专辑中的歌曲（其同名歌曲反过来借鉴了T.S.艾略特的诗句）之间，存在着一片广阔的音乐表现记忆的领域，它们彼此相隔遥远，就像短期记忆与那些即便在最严重的退行性疾病面前也能保持的根深蒂固的记忆之间的距离一样。19世纪末20世纪初的意大利歌曲以及相关诗歌，更偏爱记忆中多愁善感的方面，偏爱失落与迷茫的意象，偏爱事物与情感的短暂易逝。有时，我们会被一种过于强烈而压抑的气息所触动，就像打开一位已故多年的老姑妈的房间门时的那种感觉：这正是托斯蒂晚期的《慰藉》组曲所呈现的，它似乎也是作曲家对自身的回忆。朱塞佩·马图奇的《回忆之歌》则是另一番景象，它创作于大约30年前，正值德国艺术歌曲在19世纪迎来最后一个黄金时代。事实上，在1887年至1898年间，当马图奇创作并随后为这部他最重要的声乐作品配器时，与舒伯特并称最伟大艺术歌曲作曲家的胡戈·沃尔夫的成熟创作（乃至其生命）已走向终结。而在那些年里，马勒也选择为他的许多艺术歌曲配器。马图奇（一位著名的指挥家）因对瓦格纳的热爱而与这两人有所联系，但他与各个派系的距离也让他有时被称为小“意大利的勃拉姆斯”。事实上，即便在筹备《特里斯坦》的意大利首演（1888年）时，他的《回忆之歌》中瓦格纳式的音调也微乎其微，这使这部作品避免了原本可能具有的矫揉造作。而将作品献给爱丽丝·巴比——第一位真正的意大利艺术歌曲歌唱家，勃拉姆斯对她的喜爱甚至超过了许多德国同行——这本身就是一种明确的表态。此外，马图奇虽以所谓“纯音乐”的捍卫者自居，但显然他并非如此（理查德·施特劳斯当时就曾怒斥：真的存在所谓的纯音乐吗？），他试图避免直接提及那位在19世纪80-90年代被视为揭露所谓纯音乐绝对统治虚假性的“揭发者”的音乐，转而在这个二元王国的另一位君主——衣着得体的勃拉姆斯的语言中寻求支持。但他的音乐中却存在着多少明显的音乐-语言姿态啊！在这里，音乐唤起音乐，当马图奇必须让我们想起意大利民间小调（第三首）时，钢琴似乎从远方在记忆的机制上调音，产生一种近乎怪诞却无疑新颖的效果，至少与托斯蒂在《最后的歌》中直接唤起的民间小调或雷斯庇基逐字引用的古老曲调相比是如此。这种维度（而非其素材，无论是诗歌还是音乐素材）与沃尔夫同时期为艾兴多夫的诗歌创作的《小夜曲》相近，那首小夜曲是在逝去青春的天空中重新谱写的。这种在各种意义上与记忆的契合，暗示了G调这一调性，仿佛它是孤独那根永恒的第四弦，但同时也是这八首歌曲的连续流动，每首歌都从前一首歌结束的地方开始（带有内在的主题关联），这是对贝多芬《致远方的爱人》所开创的、舒曼在其欧洲艺术歌曲 repertoire中关于女性生活回忆的伟大故事（《妇女的爱情与生活》）所采用的组曲模式的一种前所未有的变奏。其中第二首歌曲中关于溪流的音乐，也是对舒伯特的一种致敬。在这里，如同第三首歌曲一样，最后的姿态都带着遗憾，这种遗憾每次都将歌唱主体以及演唱者转变为本土版本的“双重人影”，其基调与当时意大利最优秀的真实主义风格相差不远（尽管马图奇厌恶歌剧创作）。第四首歌曲中的“小船”也堪比最优秀的艺术歌曲，其舒缓的节奏与第三节中的“翠鸟”一同飞翔，钢琴出色地唤起了这种意境，歌声也随之舒展。第五首歌曲中优美的宣叙调，让记忆的幻觉变得切实可感：这里的和声变化体现了那些希望的闪光（用阿多诺的话说，“那些未曾实现之物的闪光”），这或许是整个组曲中最具普鲁斯特风格的时刻，而从对立吸引的角度看，它也最接近后来马斯卡尼的风格（需要指出的是，这两位作曲家当时都还未成名）。第六首歌曲是整个组曲的高潮：在这里，马图奇充分展现了他创作优美钢琴部分（开头的“狂想曲”）的才华，歌声中情感的对比，以及一种动态的、声乐与器乐的渐强感。这段音乐是威尔第“哦，逝去的甜蜜，哦，那拥抱的回忆，让生命变得渺小”那一刻的变奏，它以一种与钢琴的 sensual爱情二重唱的形式呈现，其中各种情感的流露与相拥都得到了生动描绘。开头切分音式呼喊的回归、其极致的爆发，以及对梦中结合的器乐重现，使得这首歌曲的钢琴尾声成为该 genre的真正杰作。最后一首歌曲（第七首）完成了这种记忆的消逝，再现了之前已经听过和体验过的主题、调式与情绪。低音部分加入的切分节奏脉动，是一种真正梦幻般的沃尔夫式手法，这也为这种再现提供了合理性。在“模糊不清”一词上出现的由六个不同音符组成的不协和和弦，与该词本身真正呼应，随后g小调落下帷幕，以恰当的颓废色调结束了其生命循环。
同样是g小调的小提琴奏鸣曲，作品22，由18岁的马图奇在其作为指挥家和钢琴家进行难忘的欧洲巡演前不久创作。它于1874年在那不勒斯首演，这些情况与年轻的施特劳斯极为相似，都展现了一种充满活力的、自信的才华。在勃拉姆斯最后两首小提琴奏鸣曲问世之前，这首奏鸣曲尽可能地体现了勃拉姆斯的风格。这首先体现在其整体的扎实感、其和声根基深深扎根于其曲式的沃土之中，以及其主题所具有的“意大利式”的冲劲（勃拉姆斯的小提琴协奏曲不也是如此吗？）。对于一位刚刚成熟的作曲家而言，其发展部分处理得十分出色，没有青少年时期的那种起伏不定，其主题常常带有语言般的特质，仿佛是掷地有声的慷慨陈词，第二乐章整体呈现出先优雅后热情的二重唱意境，是一首不避讳全力度演奏的协奏式浪漫曲。第三乐章从一个具有调式色彩且激昂的主题开始，这个主题类似贯穿几个世纪欧洲音乐的《沃尔塔瓦河》式主题：尽管付出了种种努力，这条充满艰辛的道路从未通向星空，从某种意义上说，g小调也从未升华为大调。然而，在更年轻的视角看来，这里有一种活泼的喜悦，仿佛这个终曲就是那首缺失的谐谑曲，还带有三重奏式的第二主题，从这个角度看，各个声部之间的互动十分有趣。
记忆在这里也发挥了作用：在第一乐章的呈示部中，其中一个主题后来被托斯蒂用在他的歌曲《玫瑰》中（这也是一种音乐记忆），这首歌的歌词由罗科·帕利亚拉创作，他也是马图奇《回忆之歌》中诗歌的作者。帕利亚拉是一位极具文化修养的人，他创作的诗歌本身就带有传奇与幻想色彩（参见他为里科尔迪出版社出版的诗集，在我们的语境中，这个出版社的名字本身就有“回忆”之意），这有点像歌德（当然存在适当的差异），歌德的抒情诗是以艺术歌曲的形式出版的。正因如此，他在作曲家当中颇受欢迎，在商业上也取得了成功，特别是在登扎和托斯蒂那里（《玛利亚》的歌词也出自他手）。
在这里，托斯蒂是一条共同的线索，正如小提琴在他的三首歌曲中是不可或缺（但非受约束）的元素一样，它像是新艺术运动时期管弦乐队中的一种引导乐器（或者像施特劳斯那首崇高的《清晨》中的乐器），是一种灵魂（小提琴的灵魂是有形的），附加在那些诗句中痛苦或怀旧的心灵之上。其简单的三和弦结构所形成的“心电图”（或者说C-D-G调的进行）反映了整个重奏的声波，这种二重唱就像数十年后那些高水平的音乐剧（例如伯恩斯坦的《与我同梦》，其中有大提琴参与）中的二重唱一样展开，特别是在《我的回忆》中，其诗人克利夫顿·宾厄姆的作品被谱写成了1600首歌曲。《幻影》中的独奏部分带有费里尼式的脆弱感（参见尼诺·罗塔为《大路》所作的音乐），仿佛是杰尔索米娜的气息，而根据乔治·梅尔维尔（并非那位著名作家）的诗歌创作的《再见！》，则描绘了一幅落叶纷飞的优美水彩画，且在某个时刻似乎暗示了一种骑马的节奏，以此向那位苏格兰作家的专长致敬（巧合的是，他死于坠马）。在这些旋律中，一个时代也在告别，那是一个早已逝去的时代，在那个时代，渺小的事物保持着渺小却非微不足道，短暂却非稍纵即逝，即便是平庸的大师，其水平也绝对在平均之上。
Artist: Francesca Idini, Erik Battaglia, Letizia Gullino
Title: Martucci, Tosti: My Memories
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical
Quality: flac lossless (tracks)
Total Time: 01:05:32
Total Size: 265 mb
WebSite: Album Preview
Tracklist
01. Violin Sonata in G Minor, Op. 22: I. Allegro passionato
02. Violin Sonata in G Minor, Op. 22: II. Andante con moto
03. Violin Sonata in G Minor, Op. 22: III. Allegro molto
04. Tre canzoni: No. 1, Visione!
05. Tre canzoni: No. 2, Good-Bye
06. Tre canzoni: No. 3, My Memories
07. La Canzone dei Ricordi, Op. 68b: No. 1, «No… svaniti non sono i sogni…»
08. La Canzone dei Ricordi, Op. 68b: No. 2, «Cantava il ruscello la gaia canzone…»
09. La Canzone dei Ricordi, Op. 68b: No. 3, «Fior di ginestra…»
10. La Canzone dei Ricordi, Op. 68b: No. 4, «Su ‘l mar la navicella…»
11. La Canzone dei Ricordi: No. 5, «Un vago mormorio mi giunge…»
12. La Canzone dei Ricordi: No. 6, «Al folto bosco, placida ombria…»
13. La Canzone dei Ricordi, Op. 68b: No. 7, «No, svaniti non sono i sogni…»
Memory ranks high among the fundamental processes of music. Without memory there is no way of conceiving music, of remembering the previous note and each time relate it to the next, as St. Augustine asserted and as Carlo Rovelli (literally so) reminded us. Without memory there is no interpretation of music either; and, finally, there is no possible listening to it. Even the way we reconstruct a theme in our memory has something to do with the re-enactment of the madeleine’s taste: receptors that are activated in silent but effective expression. Music itself therefore often seems to want to repay this silent sister, and it does so most of the time by involving the sister art, poetry. Countless are the German Lieder and the French Mélodies that draw words and music from the uncertain realm of memory, idealized or not, damned or blessed. As always, German language infects the music of that area with an added depth: the word «Erinnerung» itself was for Hegel a «going inward», a descent in variable ballast in the most remote Ego. Schubert’s or Wolf’s Lieder often account for this dimension of the psyche. But between that philosophical memory and the songs of Lloyd-Weber or Bergman in the celebrated Memories-Album by Barbra Streisand (the title-song draws in turn to verses by T. S. Eliot, moreover), there is a whole land of musical representations of memory and remembrance distant from each other just as short-term memory is from the more rooted one, resistant even to the worst degenerative diseases. The Italian songs of the late nineteenth and early twentieth centuries, and the related poems, prefer more sentimental aspects of memory, images of loss and bewilderment, the transience of things and feelings. Sometimes we are hit by an overly intense and oppressive scent, as if opening the door to the room of an old great-aunt who has been dead for years: this is the case of Tosti’s Consolazione, a cycle from his late period that also seems to be the memory of himself. Giuseppe Martucci’s Canzone dei ricordi is a very different case, written almost 30 years earlier, in the years when the German Lied was experiencing its last great 19th-century season. Indeed, between 1887 and 1898, when Martucci wrote and then orchestrated this most important among his vocal compositions, the mature production (and life itself) of Hugo Wolf, the greatest composer of Lieder together with Schubert, came to an end. And in those years, Mahler also opted for the orchestration of many of his Lieder. Martucci (a renowned conductor) was bound to both by his love for Wagner, but his distance from the factions also allowed him to be a small «Italian Brahms», as he was sometimes called. In fact, even while preparing the Italian premiere of Tristan (1888), the Wagnerian inflections of his Canzone are minimal, and this saves this work from the artifice that it would otherwise have embodied. And the dedication to Alice Barbi, the first true Italian Lieder singer, preferred by Brahms to many German colleagues, is a clear statement. Moreover, Martucci, who presents himself as a champion of so-called «absolute» music and obviously he is not (does such a thing exist, Richard Strauss thundered at the time?), wants to avoid direct reference to the music of the man who, still in those ‘80s –‘90s, was held up as the whistleblower of the nakedness of the presumed absolute monarchy of music, and seeks support in the language of the other monarch of this dual kingdom, the well-dressed Brahms. But how many overtly musical-verbal gestures are there in his music! Here, we have music that recalls music, and when Martucci must remind us of the stornello (No. 3), the piano seems to tune from afar on the mechanisms of memory, with an almost grotesque effect but certainly new, at least compared to the stornello evoked by Tosti with immediate effect in L’ultima canzone or to the ancient air reported verbatim by Respighi. The dimension (but not the material, neither poetic nor musical) is that of Wolf’s contemporary Das Ständchen to a poem by Eichendorff, a serenade that is recomposed in the sky of lost youth. This attunement with memory, in every sense, suggests the key of G, as if it were a permanent fourth string of solitude, but also the continuous flow of the eight songs, each of which starts where the previous one ends (with internal thematic references), in an unprecedented variation on the model of the cycle as originally understood by Beethoven with An die ferne Geliebte or more freely by Schumann with the other great story of remembered female life (Frauenliebe und -leben) of the European Lied repertoire. There is also a tribute to Schubert with the brook music in the second song. Here, as in the third, the final gesture is one of regret, which every time transforms the speaking subject, and the singer, into a local version of the Doppelgänger, with tones not far from the best Italian verismo of the time (pace Martucci and his aversion to opera composition). Also worthy of the best Lieder is the «boat» of no. 4, whose lulling rhythm takes flight together with the «kingfishers» of the third verse, evoked at its best by the piano and the flap of the song’s wing. The illusion of memory is tangible in the beautiful recitative of no. 5: here, the harmonic inflections embody these flashes of hope («of what has not become», as Adorno would put it), in perhaps the most Proustian moment of the entire cycle, which, by the attraction of opposites, is also the most Mascagnian in the finale: both, it should be noted, still to come. The sixth song is the climax of the cycle: here Martucci gives his best as a creator of beautiful piano parts (the initial «rhapsody»), contrasts of affections in the singing, and a sense of dynamic and vocal-instrumental crescendo. The music is a variation of the Verdian moment «O dolcezze perdute, o memorie d’un amplesso che l’essere india», and takes shape in a sort of sensual love duet with the piano, with effusions and embraces variously depicted. The return of the initial syncopated cry, its paroxysm, and the instrumental re-enactment of the dreamed union make the piano postlude of this song a true masterpiece of the genre. The last song (no. 7) completes this fading of memory, with a recapitulation of themes, modes and moods already heard and experienced. The added pulse of a syncopated rhythm in the bass is a true dreamlike Wolfian gesture, which justifies the re-enactment. The dissonant chord of six different notes on «indefinite» (undefinied) is a true analogue to the word itself, before G minor sets, closing its life cycle on appropriately decadent tones.
The Sonata for violin op. 22, also in that key, was composed by an 18-year-old Martucci shortly before his memorable European tour as conductor and pianist. It was premiered in Naples in 1874, and these circumstances make it very similar to that of the young Strauss, as an expression of the vitality of an assertive talent. It is Brahmsian as a Sonata can be before the last two of Brahms came to light. It is so more than anything in the common sense (and place) of its solidity, of its harmonic roots well set in the humus of their form, of the «Italian» momentum of its themes (isn’t that also the case of Brahms’ Violin Concerto?). For a composer who has just matured, the phases of development are well managed, without adolescent ups and downs, and the themes often have a verbal quality, as if they were well-pronounced harangues, with a general idea of a graceful then passionate duet in the second movement, a concertante romance that does not disdain the tutta forza. The third movement starts from a modal and impetuous version of that Moldau-like theme that has pervaded European music over the centuries: despite the efforts, the path per aspera never leads ad astra, also in the sense that G minor is never promoted to major. Yet, to a younger eye, there is a lively joy here, as if the finale were the Scherzo that is not there, complete with a second theme in the manner of a trio, and in this light, the game of the parts is enjoyable.
Memory also plays a role here: in the exposition of the first movement, one of the themes is then taken up by Tosti in his song Rosa (also a musical memory), on words by Rocco Pagliara, who also wrote the verses set by Martucci in the Canzone dei ricordi. Pagliara, a man of immense culture, wrote poems that were already Romances and fantasies (cf. the collection for Ricordi, nomen omen in our context), a bit like (with due differences) Goethe, whose lyrical poems were published as Lieder. In this way, he was very successful, even commercially, with composers, in particular Denza and Tosti (his are the verses of Malia).
Here, Tosti is the common thread, just as the violin is the obligato (but not constrained) element in his three songs, a sort of conducteur instrument as it was used in the art nouveau orchestras (or in Strauss’s sublime Morgen), a soul (the violin’s is physical) added to the aching or nostalgic heart of the verses. His ECG (or C-D-G, given the simple triadic structure) reflects the sound waves of the ensemble, and the duet unfolds as in the high-level musicals of many decades later (think for example of Bernstein’s Dream with Me, with cello), especially in My Memories, whose poet Clifton Bingham was set to music in 1600 songs. The solo in Visione has the Fellinian fragility (cf. Nino Rota) of La Strada, as if it were a scent of Gelsomina, while the farewell («Good-Bye!») on a poem by a (not that) George Melville paints a good watercolor of falling leaves and seems at some point to hint at a riding rhythm in homage to the specialty of that Scottish writer (who, by chance, died falling from a horse). In those gestures, a world also takes its leave, which is now that of the day before yesterday, where small things remained small but not minimal, ephemeral but not falling, and even the average masters were decidedly above average.
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