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艺术家：卑尔根爱乐乐团&安德鲁·利顿
作品名称：卑尔根爱乐乐 普罗科菲耶夫：第一至第三交响曲
发行年份：2020年
厂牌：BIS
流派：古典音乐
音质：FLAC（分轨）/24位-96kHz FLAC（分轨+小册子）
总时长：01:26:26
总大小：349兆字节 / 1.41千兆字节
网站：专辑预览
曲目列表
01. D大调第一交响曲，作品25号“古典”：I. 快板（4:20）
02. D大调第一交响曲，作品25号“古典”：II. 小广板（3:57）
03. D大调第一交响曲，作品25号“古典”：III. 加沃特舞曲，不过分快的快板（1:37）
04. D大调第一交响曲，作品25号“古典”：IV. 终曲，十分活泼的（4:20）
05. d小调第二交响曲，作品40号：I. 清晰的快板（12:10）
06. d小调第二交响曲，作品40号：IIa. 主题（1:51）
07. d小调第二交响曲，作品40号：IIb. 变奏1（2:09）
08. d小调第二交响曲，作品40号：IIc. 变奏2（2:51）
09. d小调第二交响曲，作品40号：IId. 变奏3（2:11）
10. d小调第二交响曲，作品40号：IIe. 变奏4（5:25）
11. d小调第二交响曲，作品40号：IIf. 变奏5（2:47）
12. d小调第二交响曲，作品40号：IIf. 变奏6-主题（7:05）
13. c小调第三交响曲，作品44号：I. 中板（13:53）
14. c小调第三交响曲，作品44号：II. 行板（7:05）
15. c小调第三交响曲，作品44号：III. 激动的快板（8:17）
16. c小调第三交响曲，作品44号：IV. 稍动的行板—激动的快板（6:36）
专辑简介
谢尔盖·普罗科菲耶夫的创作风格极为多元，听众永远无法预料他的下一部作品会带来何种惊喜。他的第一交响曲便是这种创作策略的成功典范。作曲家曾如此阐释创作初衷：“倘若海顿生活在我们这个时代，他会在保持自身风格的同时吸收音乐中的新元素。这正是我想创作的交响曲……”这部“古典”交响曲自1918年首演以来便成为真正的经典，也是20世纪管弦乐作品中少有的兼具机智与幽默的杰作。
首演数月后，普罗科菲耶夫离开俄罗斯前往美国，数年后于1923年定居巴黎。正是在此期间，他创作了第二交响曲，试图以这部作品展现最前沿的音乐理念。然而，1925年的首演让观众困惑多于热情，普罗科菲耶夫本人也开始怀疑，这部“由钢铁构成”的交响曲是否过度追求粗粝的对位法与厚重的织体。
此后，他重拾已酝酿多年的歌剧《火天使》的创作。1928年，当他认为没有歌剧院愿意上演这部歌剧时，决定重新利用其中的音乐素材，并惊喜地发现“这些素材竟出人意料地凝聚成一部四乐章交响曲”——即他的第三交响曲，全曲笼罩着强烈的焦虑与紧张感。
本专辑是卑尔根爱乐乐团与安德鲁·利顿合作的普罗科菲耶夫交响曲全集的第四辑（终章），此前的系列录音已为他们赢得全球乐评界的赞誉。利顿的诠释精准捕捉了普罗科菲耶夫从“新古典主义的轻盈”（第一交响曲）到“工业时代的机械张力”（第二交响曲），再到“歌剧悲剧的交响化重构”（第三交响曲）的风格跃迁。卑尔根爱乐乐团以精湛的演奏技巧与对色彩的敏锐把控，将普罗科菲耶夫笔下的冲突与诗意转化为震撼的听觉体验，而BIS的高解析录音更细腻呈现了管弦乐织体的每一处细节，使这套全集成为诠释普罗科菲耶夫早期交响创作的权威版本。
Artist: Bergen Philharmonic Orchestra & Andrew Litton
Title: Prokofiev: Symphonies Nos. 1-3
Year Of Release: 2020
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:26:26
Total Size: 349 MB / 1.41 GB
WebSite: Album Preview
Tracklist:
01. Symphony No. 1 in D Major, Op. 25 "Classical": I. Allegro (4:20)
02. Symphony No. 1 in D Major, Op. 25 "Classical": II. Larghetto (3:57)
03. Symphony No. 1 in D Major, Op. 25 "Classical": III. Gavotte. Non troppo allegro (1:37)
04. Symphony No. 1 in D Major, Op. 25 "Classical": IV. Finale. Molto vivace (4:20)
05. Symphony No. 2 in D Minor, Op. 40: I. Allegro ben articulato (12:10)
06. Symphony No. 2 in D Minor, Op. 40: IIa. Theme (1:51)
07. Symphony No. 2 in D Minor, Op. 40: IIb. Var. 1 (2:09)
08. Symphony No. 2 in D Minor, Op. 40: IIc. Var. 2 (2:51)
09. Symphony No. 2 in D Minor, Op. 40: IId. Var. 3 (2:11)
10. Symphony No. 2 in D Minor, Op. 40: IIe. Var. 4 (5:25)
11. Symphony No. 2 in D Minor, Op. 40: IIf. Var. 5 (2:47)
12. Symphony No. 2 in D Minor, Op. 40: IIf. Var. 6 - Theme (7:05)
13. Symphony No. 3 in C Minor, Op. 44: I. Moderato (13:53)
14. Symphony No. 3 in C Minor, Op. 44: II. Andante (7:05)
15. Symphony No. 3 in C Minor, Op. 44: III. Allegro agitato (8:17)
16. Symphony No. 3 in C Minor, Op. 44: IV. Andante mosso - Allegro agitato (6:36)
As a composer Sergei Prokofiev was so versatile that audiences never quite knew what to expect. As a strategy, this could misfire but with his first symphony he got things just right. He once described what he had wanted to achieve: ‘If Haydn had lived into this era he would have kept his own style while absorbing things from what was new in music. That’s the kind of symphony I wanted to write...’ The ‘Classical’ symphony has been a true classic since its first performance in 1918 and is one of the few genuinely witty pieces in the twentieth-century orchestral repertory. A few months after the performance, Prokofiev left Russia for the USA where he remained for some years before settling in Paris in 1923. It was here that he composed the Second Symphony, now with the aim to be as up-to-date as possible. The first audience in 1925 was more bewildered than enthusiastic, however, and Prokofiev himself came to have doubts, wondering whether in this symphony ‘made out of iron and steel’ he’d overdone the rough counterpoint and density of texture. He now returned to a project he had been working on for several years – the opera The Fiery Angel. In 1928, when he began to think that no opera house would take it up, Prokofiev decided to reuse the music and found that ‘the material unexpectedly packed itself up into a four-movement symphony’ – his Third, characterized by an overwhelming sense of anxiety and tension. The present disc is the fourth and last in a symphony cycle which has earned the Bergen Philharmonic Orchestra and Andrew Litton critical acclaim worldwide.
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