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艺术家：巴黎管弦乐团 & 约翰·巴比罗利爵士
作品名称：巴黎管弦乐团 德彪西：《大海》与《夜曲》（重新灌录版）
发行年份：1969年
厂牌：华纳古典
流派：古典音乐
音质：FLAC（分轨）/24位-192kHz FLAC（分轨）
总时长：52分12秒
总大小：236兆字节 / 1.93千兆字节
网站：专辑预览
### 曲目列表
01. 《大海》，CD 111，L. 109：第一乐章 从黎明到正午的大海（10:33）
02. 《大海》，CD 111，L. 109：第二乐章 海浪嬉戏（6:49）
03. 《大海》，CD 111，L. 109：第三乐章 风与海的对话（9:01）
04. 《夜曲》，CD 98，L. 91：第一首 云（8:15）
05. 《夜曲》，CD 98，L. 91：第二首 节日（7:18）
06. 《夜曲》，CD 98，L. 91：第三首 海妖（11:20）
### 艺术家背景
约翰·巴比罗利爵士（1899–1970）生于伦敦，父母为意大利-法国人。他曾以大提琴手身份接受训练，早年在剧院和咖啡馆管弦乐团演奏，1916年加入亨利·伍德爵士指挥的女王大厅管弦乐团。1924年，他组建个人乐团，开启指挥生涯。1926至1933年间，他活跃于科文特花园等地的歌剧指挥领域。此后历任苏格兰管弦乐团（1933–36）、纽约爱乐乐团（1936–42）、哈雷管弦乐团（1943–70）和休斯顿交响乐团（1961–67）首席指挥。巴比罗利常客座指挥全球顶尖乐团，尤其以诠释马勒、西贝柳斯、埃尔加、沃恩·威廉斯、戴留斯、普契尼和威尔第的作品著称，录制了大量经典唱片，包括勃拉姆斯与西贝柳斯交响曲全集、威尔第与普契尼歌剧，以及众多英国作品。
### 艺术生涯与马勒作品的渊源
巴比罗利接触古斯塔夫·马勒的音乐较晚。1930年，他在他人排练中首次听到马勒《第四交响曲》，当时认为其风格单薄（尤其与柏辽兹、瓦格纳相比）。职业生涯早期，他仅偶尔涉足马勒作品（如1931年为伦敦皇家爱乐协会音乐会指挥《亡儿悼歌》）。直至1946年，他才在哈雷管弦乐团第三乐季中加入《大地之歌》。1952年，乐评人内维尔·卡杜斯（Neville Cardus）提及汉密尔顿·哈蒂爵士（Hamilton Harty）在担任哈雷指挥期间（1920–33）曾让英国首演马勒《第九交响曲》，并力荐巴比罗利尝试。两年后，巴比罗利首次指挥马勒交响曲（《第九交响曲》），开启了持续16年的马勒作品探索（除《第八交响曲》外，其余均有涉猎）。他陆续录制了《第一》《第五》《第六》《第九交响曲》，部分未录音的作品也通过广播录音发行了CD。
为演绎马勒交响曲，巴比罗利倾注大量心血，甚至影响健康——他需在繁忙日程中挤出时间，用18个月至2年钻研总谱，还会花数小时细致标注所有弦乐声部弓法。他曾表示：“若想出色指挥马勒，其音乐必须融入你的血脉。晚年能发现如此宏大的艺术宝藏，实为幸事。当然，读懂总谱无需两年，但要驾驭如此浩瀚的音乐宇宙，必须明晰每个乐思的起承转合，以及它们如何构成整体……”1956年，他耗时数日背诵《第二交响曲》合唱终章，尽管首演计划在1958年5月才举行。
### 歌剧与管弦乐成就
尽管天生擅长歌剧指挥，巴比罗利的歌剧生涯主要集中在早年（1926–1933年）。他在英国国家歌剧院、卡尔·罗莎歌剧团和科文特花园剧院积累了约20部歌剧曲目，包括瓦格纳《纽伦堡的名歌手》——他曾携该剧巡演，并于1931年录制五重奏选段（与伊丽莎白·舒曼、劳里茨·梅尔基奥尔、弗里德里希·肖尔等歌唱家合作）。虽此后未再于歌剧院指挥该剧，但其序曲成为他音乐会的保留曲目，尤其是哈雷管弦乐团的重要场合——1943年，他正是用这首序曲开启了仅用四周重组并复兴的哈雷乐团首场音乐会。
1960年代（晚年），他重拾起热爱的歌剧总谱，计划录制普契尼《曼侬·莱斯科》和《纽伦堡的名歌手》，虽未实现，但成功录制了威尔第《奥赛罗》（巧合的是，其父与祖父曾参与该剧1887年斯卡拉歌剧院首演）和《蝴蝶夫人》，以及珀塞尔《狄多与埃涅阿斯》。
埃尔加《谜语变奏曲》与巴比罗利同年诞生，这一巧合令他格外钟情，该作品成为其保留曲目的核心。他在全球热忱演绎此作，甚至1969年仍致信友人迈克尔·肯尼迪：“许久未演《谜语变奏曲》，重温时仍为之倾倒。”他在78转唱片时代录制过两次，立体声时代又于1956年和1962年两度录制。1956年版《谜语变奏曲》兼具细腻、高贵与激情，与同期演绎的埃尔加《第一交响曲》《引子与快板》同为经典。他对拉威尔《鹅妈妈》的精致诠释，亦展现其对法国曲目的精准把握——此时他与哈雷乐团默契臻于巅峰，乐手对其艺术想象高度共鸣。
巴比罗利在EMI的唱片目录极为丰富，收录其所有重要录音，许多作品纳入“英国作曲家系列”。
哈雷管弦乐团
约翰·巴比罗利爵士，指挥
数字重新灌录
Artist: Orchestre de Paris & Sir John Barbirolli
Title: Debussy: La Mer & Nocturnes (Remastered)
Year Of Release: 1969
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 52:12
Total Size: 236 MB / 1.93 GB
WebSite: Album Preview
Tracklist:
01. La Mer, CD 111, L. 109: I. De l'aube à midi sur la mer (10:33)
02. La Mer, CD 111, L. 109: II. Jeu de vagues (6:49)
03. La Mer, CD 111, L. 109: III. Dialogue du vent et de la mer (9:01)
04. Nocturnes, CD 98, L. 91: No. 1, Nuages (8:15)
05. Nocturnes, CD 98, L. 91: No. 2, Fêtes (7:18)
06. Nocturnes, CD 98, L. 91: No. 3, Sirènes (11:20)
Born in London of Italian-French parents, Sir John Barbirolli (1899–1970) trained as a cellist and played in theatre and café orchestras before joining the Queen’s Hall Orchestra under Sir Henry Wood in 1916. His conducting career began with the formation of his own orchestra in 1924, and between 1926 and 1933 he was active as an opera conductor at Covent Garden and elsewhere. Orchestral appointments followed: the Scottish Orchestra (1933–36), the New York Philharmonic (1936–42), the Hallé Orchestra (1943–70) and the Houston Symphony (1961–67). Barbirolli guest conducted many of the world’s leading orchestras and was especially admired as an interpreter of the music of Mahler, Sibelius, Elgar, Vaughan Williams, Delius, Puccini and Verdi. He made many outstanding recordings, including the complete Brahms and Sibelius symphonies, as well as operas by Verdi and Puccini and much English repertoire.
Barbirolli was a late convert to the music of Gustav Mahler. He had first come across it in 1930 when the Fourth Symphony, as heard for the first time at somebody else’s rehearsal, struck him as being thin, certainly by comparison with Berlioz and Wagner. After some early excursions at the beginning of his career – such as in 1931, when he conducted the Kindertotenlieder for Elena Gerhardt at a Royal Philharmonic Society concert in London – Mahler scarcely even figured in his programmes until 1946, when he included Das Lied von der Erde in his third season with the Halle Orchestra. Then in 1952 his friend, the critic Neville Cardus, recalling that Sir Hamilton Harty had given England its first hearing of the Ninth Symphony during his reign as Hallé conductor (1920–33), urged Barbirolli to consider conducting it himself. It was, said Cardus, “the ideal work” for him. Two years later the thing happened: moreover, that first-ever performance by Barbirolli of a Mahler symphony opened the floodgates to a 16-year period in which he embraced them all save No.8. The First, Fifth, Sixth and Ninth he subsequently recorded commercially, and radio recordings of several of the others have also appeared on CD.
The symphonies preoccupied Barbirolli for the rest of his life, possibly even to the detriment of his health, as the vast periods of time he spent studying them had to be squeezed into an already hopelessly overcrowded schedule. He reckoned that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances. "If you want to conduct Mahler well his music must be under your skin and in your bones", he said, adding: "It is a joy to me in my advancing years that I have found something which […] is of such mighty dimensions. Of course, it does not take two years to read these scores, but if you prepare for a journey through such immeasurably wide musical spheres, you must know exactly where the musical ideas begin and where they end and how each fits into the pattern of the whole […]." To this end he spent several days in 1956 memorizing the choral finale of the Second Symphony, despite the fact that his first attempt upon it was not scheduled until May 1958.
Although a born opera conductor, most of Barbirolli’s operatic conducting was confined to the early years of his career when, between 1926 and 1933, he amassed a repertoire of 20 or so operas while working with the British National Opera, Carl Rosa and Covent Garden companies. Among them was Wagner’s Die Meistersinger, which he toured to the provinces and conducted at Covent Garden: a celebrated souvenir of these performances exists in his 1931 recording of the Quintet with Elisabeth Schumann, Lauritz Melchior and Friedrich Schorr, no less, among the singers. Although he never again conducted the work in the opera house, its overture became a staple of his concert programmes, especially for significant occasions with the Hallé: indeed, in 1943 he chose it to launch the very first concert of the orchestra he had reformed and revitalized in just four weeks.
It was not until the 1960s, during his last decade, that the opportunity to take up again the old operatic scores he loved so deeply came his way. Puccini’s Manon Lescaut and, ironically, Die Meistersinger were among the operas planned for recording by him at this time, but although neither project materialized he did manage to record (besides Purcell’s Dido and Aeneas) Verdi’s Otello – happily bringing the family wheel full circle, as both his father and grandfather had played in the opera’s première at La Scala in 1887 – and Madama Butterfly.
The happy coincidence that Elgar’s Enigma Variations dated from the same year as his birth delighted Barbirolli, and the work became a cornerstone of his repertoire. He conducted it zealously all over the world, and it is a measure of his love for the music that even as late as 1969 he could still write to his friend Michael Kennedy: "I hadn’t done the Enigmas for some time and was completely bowled over by them again." He recorded the work twice on 78s, and twice more during the stereo era, in 1956 and 1962. Completely memorable accounts of Elgar’s Symphony No.1 and Introduction and Allegro date from this period, and this 1956 version of the Enigma Variations, delicate, noble and thrilling by turns, is unquestionably in the same category. His cultivated reading of Ma Mère l’oye, too, reveals a master conductor at work, with an equally fastidious ear for the French repertoire; he and the Hallé were at the peak of their association at this time, with the players wonderfully attuned and responsive to his artistic imagination.
Barbirolli's current EMI discography is extensive and comprises all of his great recorded performances, many in the British Composers series.
Hallé Orchestra
Sir John Barbirolli, conductor
Digitally remastered
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发表于 2025-5-18 08:04:43