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艺术家：瓦莱丽·米洛
专辑名：《水彩画》
发行年份：2012年
厂牌：阿纳莱克塔唱片公司（Analekta）
流派：古典音乐
音质：FLAC（分轨）/ 24比特-88.2千赫兹 FLAC（分轨）
总时长：61分52秒
总大小：204兆字节 / 959兆字节
网站：专辑预览
曲目列表
01. 《裸体歌舞第1号》（3分26秒）
02. 《裸体歌舞第2号》（2分49秒）
03. 《裸体歌舞第3号》（2分37秒）
04. 《月光》（4分40秒）
05. 《我的祖国：沃尔塔瓦河（摩尔道河）》（10分47秒）
06. 《意象，第4组曲：神奇的鸟舍》（4分26秒）
07. 《意象，第4组曲：雪下的钟声》（2分05秒）
08. 《意象，第4组曲：农民之舞》（4分59秒）
09. 《爱之梦第3号（爱的梦境）》（5分25秒）
10. 《为俄耳甫斯的陵墓而作——竖琴独奏曲 哀歌之舞，作品37号》（5分45秒）
11. 《传奇，根据勒孔特·德·李勒的〈小精灵〉而作》（10分35秒）
12. 《第二西班牙组曲：萨拉戈萨》（4分26秒）
“一幅水彩画不是一个故事，而是一种感觉、一段记忆、一种心境的体现。”（雨果·普拉特）
竖琴凭借其细腻的表现力、含蓄的感染力，以及能将我们带入一个“别处”的魔力，尽管那里古朴、怀旧的色彩却丝毫未减其魅力，难道它不是将钢琴和交响乐作品中深受喜爱的经典之作，转化为一系列难以捉摸的音乐画面的绝佳乐器吗？竖琴演奏家瓦莱丽·米洛以对萨蒂、斯美塔那、德彪西和李斯特作品的精彩诠释，给出了肯定的答案！
萨蒂的三首《裸体歌舞》于1888年发表，但直到1910年才真正流行起来。这些作品极为独特，打破了许多古典音乐的规则。它们受福楼拜的《萨朗波》启发，这些空灵的舞蹈是贯穿萨蒂整个作品的古希腊主题的一部分。
德彪西的《月光》（出自他的《贝加莫组曲》）创作于萨蒂的三部曲之后两年，其流畅性让人联想到口语，很可能受到了魏尔伦同名诗歌的启发。作为印象派的杰作，这首作品在柔和的段落与情感强烈的部分之间交替，给人一种捕捉到了转瞬即逝的瞬间的感觉。
这种持续的动感也体现在斯美塔那的《沃尔塔瓦河》中，这是他的交响诗套曲《我的祖国》中的第二首，它既描绘了河流本身，也展现了河岸沿途的风景和场景，直到河流最终汇入易北河：森林狩猎、乡村婚礼，或是在月光下嬉戏的仙女。
李斯特的《爱之梦》第三号，既是为了配合费迪南德·弗赖利格拉特的一首诗而作（诗中的情感融入在乐曲之中，“哦，爱，只要你还能爱”），也是一首独立的钢琴作品。那气势磅礴的旋律线条仿佛在乐曲的三个部分中不断重生的气息中流淌。
“这位金匠诗人的水彩画仿佛被一抹灿烂的光辉所洗礼，如同《一千零一夜》中宝藏的光泽。”（埃德蒙和朱尔·德·龚古尔）
竖琴是一种多才多艺的乐器，既能展现出高雅的优雅，又能表现出激昂的大胆，同时还能突破刻板印象。通过几个巧妙的音乐乐句，它能唤起诗意的叙事，其力量常常超越了激发它们的文字、图像或地点。
马吕斯·弗洛休斯于1950年创作的《为俄耳甫斯的陵墓而作》，献给竖琴演奏家菲亚·伯格豪特，这部作品体现了这位荷兰作曲家风格的精髓：追求纯净与平衡，同时也是形式与内容的统一，就像对他有音乐影响的莫扎特和德彪西所践行的那样。弗洛休斯运用了大量的短小主题，并几乎无限地对其进行变化，出色地传达了俄耳甫斯故事中固有的漂泊感，俄耳甫斯前去拯救他的欧律狄刻，但却未能毫发无损地归来。
马塞尔·吕西安·图尔尼耶是马滕诺和哈塞尔曼斯的学生（他后来接替哈塞尔曼斯在巴黎音乐学院的职位），他为拓展竖琴的和声与技术表现手法做出了巨大贡献，并培养了整整一代竖琴演奏家。尽管他为管弦乐队、钢琴、小提琴、大提琴和声乐创作了大量作品，但他最有趣的作品还是那些为竖琴而作的。他于1932年创作的《意象第4组曲》呈现了三幅富有感染力的画面：迷人的《神奇的鸟舍》、音域相互交织的《雪下的钟声》，以及带有多重滑音效果的空灵的《农民之舞》。
亨丽埃特·勒尼耶的第一部大型作品《传奇》，创作于1901年，灵感来自帕尔纳斯派诗人勒孔特·德·李勒的诗歌《小精灵》。次年，它出现在她与拉穆勒管弦乐团的所有音乐会上。这首诗讲述了一位骑士骑马穿过森林去见他的未婚妻的故事。精灵女王试图诱惑他，但他拒绝了，解释说他一生的挚爱在等他。女王愤怒地对他下了诅咒。他逃脱后却在路上遇到了一个幽灵。他以为是恶魔，便诅咒它（“让开，可憎的幽灵 / 因为我要去迎娶我甜美的新娘”），但等他意识到这个幽灵实际上是他心爱的人时已经太晚了。“哦，我亲爱的丈夫，永恒的坟墓 / 将成为我们的婚床。”她回答道。意识到自己的错误后，他选择与她一同葬身坟墓。勒尼耶对这首诗的处理（其中包括一个重复了七次的固定乐段）本质上是浪漫主义的，但在处理旋律与和声素材方面却很有胆识，作品的精湛技艺通过音域和音色的效果巧妙地展现出来，巧妙地丰富了诗人的文字内涵。
许多作曲家都试图从西班牙这片孕育了弗拉门戈的肥沃土地中汲取声音、色彩或灵感；但很少有人能比伊萨克·阿尔贝尼斯更成功地传达出它的多样性。在他的《第二西班牙组曲》中的《萨拉戈萨》里，他主要通过传统的阿拉贡霍塔舞曲勾勒出这座城市的轮廓。尽管他对宽广的和弦和绚丽的色彩的偏爱显而易见，但在类似民歌的和声中，也能感受到热闹的人群和公共庆典的喧嚣。
瓦莱丽·米洛，竖琴演奏家
Artist: Valérie Milot
Title: Aquarelles
Year Of Release: 2012
Label: Analekta
Genre: Classical
Quality: FLAC (tracks) / 24bit-88.2kHz FLAC (tracks)
Total Time: 61:52
Total Size: 204 / 959 MB
WebSite: Album Preview
Tracklist:
01. Gymnopédie No. 1 (3:26)
02. Gymnopédie No. 2 (2:49)
03. Gymnopédie No. 3 (2:37)
04. Clair de Lune (4:40)
05. Mà Vlast: Vltava (Moldau) (10:47)
06. Image, Suite No.4: La Volière Magique (4:26)
07. Image, Suite No.4: Cloches sous la Neige (2:05)
08. Image, Suite No.4: La Danse du Moujik (4:59)
09. Liebestraume No. 3 (Rêve d’amour) (5:25)
10. Pour le tombeau d’Orphée - Danse élégiaque pour harpe seule Op. 37 (5:45)
11. Légende, d’après « Les Elfes » de Leconte de l’Isle (10:35)
12. Second Spanish Suite: Zaragoza (4:26)
“A watercolour is not a story, it’s the translation of a sensation, a memory, a state of mind.” (Hugo Pratt)
With its ability to delicately suggest, obliquely seduce, and transport us to an “elsewhere” whose quaint, old-fashioned colours have nevertheless lost nothing of their power, is not the harp the perfect instrument to transform beloved works from the piano and symphonic repertoire into a series of elusive tableaux? Harpist Valérie Milot answers a definitive “Yes!” with several interpretations of works by Satie, Smetana, Debussy, and Liszt.
Published in 1888 but not gaining real popularity until 1910, Satie’s three Gymnopédies are highly unusual and flout many of classical music’s rules. Inspired by Flaubert’s Salammbô, these ethereal dances are part of an Ancient Greek theme that runs through Satie’s entire oeuvre.
Composed two years after Satie’s triptych, Debussy’s “Claire de lune” (from his Suite bergamasque), with its fluidity reminiscent of spoken language, likely takes its inspiration from a poem of the same name by Verlaine. A masterwork of Impressionism, the piece alternates subdued passages with sections of great emotional power, giving the impression of having captured an ephemeral moment in time.
This perpetual motion is also conveyed in Smetana’s “The Moldau,” the second of six tone poems in the cycle Má Vlast (My Country), which suggests both the river itself and the landscapes and scenes encountered along its banks, before it ultimately empties into the Elba: a forest hunt, a country wedding, or nymphs frolicking in the moonlight.
Liszt’s Liebesträume (Dreams of Love) No. 3 was written both to accompany a poem by Ferdinand Freiligrath, the sentiment of which is part of its duration (“O lieb, so lang du lieben kannst,”or “love as long as you can”) and as an independent piano work. The sweeping melody line seems to be borne along by a breath that regenerates itself throughout the work’s three sections.
“The watercolours of this goldsmith-poet seem to be washed with a rutilant glow, the patina of the treasures of One Thousand and One Nights” (Edmond and Jules de Goncourt)
A versatile instrument, able to move from refined elegance to tempestuous boldness, the harp also manages to elude stereotypes. With a few deft musical phrases, it can evoke poetic narratives whose power often goes beyond the words, images or places that inspired them.
Composed in 1950 and dedicated to harpist Phia Berghout, Pour le tombeau d’Orphée by Marius Flothuis encompasses the very essence of the Dutch composer’s style: a search for purity and balance but also a union of form and content, as practiced by his musical influences, Mozart and Debussy. With a multitude of short motifs that he varies almost infinitely, Flothuis brilliantly conveys the sense of wandering inherent to the story of Orpheus, who goes to save his Eurydice but who does not return unscathed.
A student of Martenot and Hasselmans (whom he succeeded at the Paris Conservatory), Marcel Lucien Tournier contributed enormously to expanding the harp’s harmonic and technical palette and trained an entire generation of harpists. While he composed extensively for orchestra, piano, violin, cello, and voice, his most interesting works are those dedicated to his own instrument. Composed in 1932, his Suite No. 4 Images offers three evocative tableaux: the captivating “Volière magique,” “Cloches sous la neige,” with its interplay of registers, and the ethereal “Danse du moujik,” with its multiple glissando effects.
Légende, the first large-scale work by Henriette Renié, was written in 1901 after the poem Les Elfes by the Parnassian Leconte de Lisle. The following year, it would appear on the program of all her concerts with the Orchestre Lamoureux. The poem tells the story of a knight riding through the forest to his betrothed. The Elf Queen tries to seduce him, but he resists, explaining that the love of his life awaits him. Angry, the Queen lays a hex on him. He escapes only to encounter a ghost on the road. Believing it to be a demon, he curses it (“Out of my way, despicable ghost / For I am off to marry my sweet-eyed beauty”), only to realize, too late, that the phantom is, in fact, his beloved. “Oh my dear husband, the eternal grave / Shall be our wedding bed,” she replies. Realizing his mistake, he chooses to join her in the grave. Renié’s treatment of the text (which includes a ritornello repeated seven times) is essentially Romantic yet daring in its handling of the melodic and harmonic material, the work’s virtuosity emerging subtly through effects of register and timbre, which deftly expand on the poet’s words.
Many composers have attempted to extract a sound, a colour, or an inspiration from the fertile ground of Spain, cradle of flamenco; few have succeeded better in conveying its diversity than Isaac Albéniz. In Zaragoza (Saragossa), taken from his second Suite española, he sketches a portrait of the city, primarily by way of traditional Aragon jotas. While his penchant for wide chords and flamboyant colours is evident, the exuberant crowds and the bustle of public celebrations are also palpable in the folksong-like harmonies.
Valerie Milot, harp
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发表于 2025-5-7 08:39:11