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艺术家：玛丽娜·德·加瓦赖恩、哈雷管弦乐团、约翰·巴比罗利爵士
标题：法雅：7首西班牙流行民谣（哈尔夫特改编版）（重新灌录）
发行年份：1958年
厂牌：华纳古典
流派：古典
音质：24位-192千赫兹FLAC（分轨）
总时长：13分06秒
总大小：259兆字节
网站：专辑预览
曲目列表
01. 7首西班牙流行民谣：第1首，摩尔人的手帕（1:19）
02. 7首西班牙流行民谣：第2首，穆尔西亚塞吉迪亚舞曲（1:17）
03. 7首西班牙流行民谣：第3首，阿斯图里亚纳（2:48）
04. 7首西班牙流行民谣：第4首，霍塔舞曲（3:13）
05. 7首西班牙流行民谣：第5首，摇篮曲（1:46）
06. 7首西班牙流行民谣：第6首，歌曲（1:19）
07. 7首西班牙流行民谣：第7首，波罗舞曲（1:25）
约翰·巴比罗利爵士（1899–1970）生于伦敦，父母为意大利-法国人，早年以大提琴家身份受训，曾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，他组建自己的乐团，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）的指挥职位。巴比罗利曾客席指挥全球众多顶尖乐团，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及大量英国作品在内的杰出录音。
巴比罗利接触古斯塔夫·马勒的音乐较晚。1930年，他在别人的排练中首次听到马勒第四交响曲，当时觉得与柏辽兹和瓦格纳相比，这部作品显得单薄。职业生涯早期，他仅偶尔涉足马勒作品——如1931年在伦敦皇家爱乐协会音乐会上为女低音埃琳娜·格哈特伴奏《亡儿悼歌》。直至1946年，他才在哈雷管弦乐团的第三个乐季中加入《大地之歌》。1952年，评论家朋友内维尔·卡杜斯提及汉密尔顿·哈蒂爵士在担任哈雷指挥（1920–33）时曾让英国首演马勒第九交响曲，力劝巴比罗利考虑亲自指挥。卡杜斯称，这是“最适合他的作品”。两年后，巴比罗利首次指挥马勒交响曲，开启了为期16年的马勒作品探索之旅（除第八交响曲外，其余均有涉猎）。他后来商业录制了第一、五、六、九交响曲，其他几部的电台录音也已发行CD。
马勒交响曲占据了巴比罗利余生的主要精力，甚至可能损害了他的健康，因为他不得不从本已繁忙的日程中挤出大量时间研究这些作品。他认为，掌握一部马勒交响曲需要18个月到两年时间，且会花数小时精心标注所有弦乐声部的弓法以准备演出。“若想出色地指挥马勒，他的音乐必须融入你的肌肤与骨骼，”他说，“晚年能发现如此博大精深的作品是我的荣幸。当然，通读总谱无需两年，但要在如此浩瀚的音乐天地中探索，你必须确切知晓每个音乐构思的起承转合，以及它们如何融入整体架构……”为此，1956年，他花数天时间熟记第二交响曲的合唱终章，尽管首次演出计划在1958年5月才进行。
尽管天生擅长歌剧指挥，巴比罗利的歌剧指挥生涯主要集中在早期。1926至1933年间，他与英国国家歌剧院、卡尔·罗莎歌剧团和科文特花园合作，积累了约20部歌剧的指挥经验，其中包括瓦格纳的《纽伦堡的名歌手》——他曾携该剧在地方巡演，并在科文特花园指挥。1931年，他与伊丽莎白·舒曼、劳里茨·梅尔基奥尔、弗里德里希·肖尔等歌唱家录制的剧中五重奏，成为那段演出的经典纪念。尽管此后未再在歌剧院指挥该剧，但其序曲却成为他音乐会曲目的常客，尤其是在哈雷管弦乐团的重要场合：1943年，他正是选择该序曲，开启了仅用四周重组并复兴的哈雷管弦乐团的首场音乐会。
直至20世纪60年代，即他生命的最后十年，巴比罗利才重新有机会重拾深爱的歌剧总谱。他当时计划录制普契尼的《曼侬·莱斯科》，颇具讽刺意味的是，还有《纽伦堡的名歌手》。尽管这两个项目均未实现，但他成功录制了（除珀塞尔的《狄多与埃涅阿斯》外）威尔第的《奥赛罗》——令人欣喜的是，这完成了家族的轮回，因为他的父亲和祖父曾参与1887年该剧在斯卡拉歌剧院的首演——以及《蝴蝶夫人》。
埃尔加的《谜语变奏曲》与巴比罗利同年诞生，这一巧合令他格外欣喜，该作品也成为其保留曲目的核心。他在全球热忱演绎这部作品，直至1969年，他仍在给朋友迈克尔·肯尼迪的信中写道：“我已有段时间未指挥《谜语变奏曲》，再次演奏时仍为之倾倒。”他在78转唱片时代录制过两次，立体声时代又于1956年和1962年各录制一次。1956年版的《谜语变奏曲》细腻、高贵且激动人心，与同期埃尔加第一交响曲和《引子与快板》的标志性演绎齐名。他对拉威尔《鹅妈妈》的成熟诠释，同样展现了大师风范，对法国作品的细腻把握亦堪称典范；此时他与哈雷管弦乐团的合作正值巅峰，乐手们对他的艺术想象心领神会、响应默契。
巴比罗利目前在EMI的唱片目录极为丰富，收录了他所有伟大的录音演绎，其中许多收录于“英国作曲家”系列。
玛丽娜·德·加瓦赖恩，次女高音
哈雷管弦乐团
约翰·巴比罗利爵士，指挥
数字重新灌录
Artist: Marina de Gabaráin, Hallé Orchestra, Sir John Barbirolli
Title: Falla: 7 Popular Spanish Folksongs (Orch. Halffter) (Remastered)
Year Of Release: 1958
Label: Warner Classics
Genre: Classical
Quality: 24bit-192kHz FLAC (tracks)
Total Time: 13:06
Total Size: 259 MB
WebSite: Album Preview
Tracklist:
01. 7 Canciones populares españolas: No. 1, El paño moruno (1:19)
02. 7 Canciones populares españolas: No. 2, Seguidilla murciana (1:17)
03. 7 Canciones populares españolas: No. 3, Asturiana (2:48)
04. 7 Canciones populares españolas: No. 4, Jota (3:13)
05. 7 Canciones populares españolas: No. 5, Nana (1:46)
06. 7 Canciones populares españolas: No. 6, Canción (1:19)
07. 7 Canciones populares españolas: No. 7, Polo (1:25)
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.
Marina de Gabarain, mezzo-soprano
Halle Orchestra
Sir John Barbirolli, conductor
Digitally remastered
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