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艺术家：哈雷管弦乐团，约翰·巴比罗利爵士
标题：西贝柳斯：历史场景，佩利亚斯与梅丽桑德及 Rakastava（重新母带处理版）
发行年份：2020年
厂牌：华纳古典
类型：古典音乐
音质：FLAC（分轨文件）/24位-192千赫兹FLAC（分轨文件）
总时长：57分20秒
总容量：276兆字节/2.12吉字节
网站：专辑预览
曲目列表
1. 西贝柳斯：历史场景第二组曲，作品66号：第1首，狩猎（7分53秒）
2. 西贝柳斯：莱明凯宁组曲，作品22号“卡勒瓦拉传奇”：第2首，图奥内拉的天鹅（7分58秒）
3. 西贝柳斯：佩利亚斯与梅丽桑德组曲，作品46号：第1首，在城堡门口（4分27秒）
4. 西贝柳斯：Rakastava，作品14号：I. 恋人（4分32秒）
5. 西贝柳斯：佩利亚斯与梅丽桑德组曲，作品46号：第2首，梅丽桑德（4分01秒）
6. 西贝柳斯：Rakastava，作品14号：II. 恋人之路（2分48秒）
7. 西贝柳斯：历史场景第一组曲，作品25号：第1首，前奏曲（5分16秒）
8. 西贝柳斯：佩利亚斯与梅丽桑德组曲，作品46号：第7首，纺车旁的梅丽桑德（2分22秒）
9. 西贝柳斯：Rakastava，作品14号：III. 晚安，吾爱…告别（5分39秒）
10. 西贝柳斯：历史场景第一组曲，作品25号：第2首，场景（6分33秒）
11. 西贝柳斯：佩利亚斯与梅丽桑德组曲，作品46号：第9首，梅丽桑德之死（5分58秒）
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，在1916年加入亨利·伍德爵士指挥的女王大厅管弦乐团之前，曾在剧院和咖啡馆的管弦乐队中演奏。他的指挥生涯始于1924年组建自己的管弦乐团，1926年至1933年间，他在科文特花园等地担任歌剧指挥，颇为活跃。之后他先后担任多个管弦乐团的指挥职位：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）。巴比罗利曾客座指挥全球许多顶尖管弦乐团，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而备受推崇。他录制了许多杰出的唱片，包括完整的勃拉姆斯和西贝柳斯交响曲，以及威尔第和普契尼的歌剧和大量英国作品。
巴比罗利较晚才开始接触古斯塔夫·马勒的音乐。1930年，他在别人的排练中首次听到马勒第四交响曲时，觉得它与柏辽兹和瓦格纳的作品相比显得单薄。在职业生涯早期有过一些尝试后——如1931年，他在伦敦皇家爱乐协会音乐会上为埃琳娜·格哈特指挥《儿童亡故之歌》——直到1946年，他在哈雷管弦乐团的第三个乐季中加入《大地之歌》，马勒的作品才几乎未出现在他的节目单中。1952年，他的朋友、评论家内维尔·卡杜斯回忆起汉密尔顿·哈蒂爵士在担任哈雷管弦乐团指挥期间（1920–33）曾让英国首次聆听了马勒第九交响曲，于是敦促巴比罗利考虑自己指挥这部作品。卡杜斯说，这是“适合他的理想作品”。两年后，这成为了现实：此外，巴比罗利首次指挥马勒交响曲的演出，开启了一个16年的时期，在此期间，除了第八交响曲，他演绎了马勒的所有交响曲。他随后商业录制了第一、第五、第六和第九交响曲，其他几部的广播录音也已发行CD。
交响曲在巴比罗利的余生中占据了重要位置，甚至可能损害了他的健康，因为他不得不从本已忙得不可开交的日程中挤出大量时间来研究这些作品。他认为，掌握一部马勒交响曲需要18个月到两年的时间，他会花数小时精心为所有弦乐部分设计弓法，为演出做准备。“如果你想出色地指挥马勒，他的音乐必须融入你的肌肤和骨骼，”他说，并补充道：“在我年事已高时，我很高兴发现了一些……如此宏大的东西。当然，阅读这些总谱不需要两年时间，但如果你准备在如此广阔的音乐领域中遨游，你必须确切知道音乐思想从何开始、到何结束，以及每个部分如何融入整体结构……”为此，他在1956年花了几天时间记忆第二交响曲的合唱终曲，尽管他首次尝试指挥该曲的时间定在1958年5月。
尽管巴比罗利是天生的歌剧指挥家，但他的大部分歌剧指挥工作仅限于职业生涯早期。1926年至1933年间，他在与英国国家歌剧院、卡尔·罗莎和科文特花园公司合作时，积累了约20部歌剧的曲目。其中包括瓦格纳的《纽伦堡的名歌手》，他曾带着这部作品到外省巡演，并在科文特花园指挥：1931年，他与伊丽莎白·舒曼、劳里茨·梅尔基奥尔和弗里德里希·肖尔等歌手录制的五重奏，成为这些演出的著名纪念。尽管他再也没有在歌剧院指挥过这部作品，但它的序曲成为他音乐会节目的主要曲目，尤其是在哈雷管弦乐团的重要场合：事实上，1943年，他选择用这首序曲开启他在短短四周内重组并焕新的管弦乐团的首场音乐会。
直到20世纪60年代，在他生命的最后十年，他才有机会再次拿起自己深爱的旧歌剧总谱。普契尼的《曼侬·莱斯戈》以及具有讽刺意味的《纽伦堡的名歌手》是他当时计划录制的歌剧之一，但这两个项目都未能实现。不过，除了珀塞尔的《狄多与埃涅阿斯》，他确实成功录制了威尔第的《奥赛罗》——令人高兴的是，这让家族的轮回圆满，因为他的父亲和祖父都曾在1887年《奥赛罗》在斯卡拉歌剧院的首演中演奏——以及《蝴蝶夫人》。
埃尔加的《谜语变奏曲》与巴比罗利同年诞生，这一巧合让他很高兴，这部作品也成为他演奏曲目的基石。他热情地在世界各地指挥这部作品，直到1969年，他还能写信给朋友迈克尔·肯尼迪：“我有一段时间没指挥《谜语变奏曲》了，再次被它完全震撼。”这足以体现他对这部作品的热爱。他在78转唱片时期录制过两次该作品，在立体声时代的1956年和1962年又录制了两次。这个1956年版的《谜语变奏曲》，时而细腻，时而高贵，时而激动人心，无疑与同一时期埃尔加第一交响曲和《引子与快板》的令人难忘的演绎属于同一水准。他对《鹅妈妈》的精心演绎也展现了一位大师级指挥家的功力，他对法国作品同样有着挑剔的耳朵；此时他与哈雷管弦乐团的合作达到了巅峰，乐手们完美地契合并响应他的艺术想象。
巴比罗利目前在EMI的唱片目录非常丰富，包括他所有伟大的录音演绎，其中许多收录在英国作曲家系列中。
哈雷管弦乐团
约翰·巴比罗利爵士，指挥
数字重新母带处理
Artist: Hallé Orchestra, Sir John Barbirolli
Title: Sibelius: Scènes historiques, Pelléas et Mélisande & Rakastava (Remastered)
Year Of Release: 2020
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 57:20
Total Size: 276 MB / 2.12 GB
WebSite: Album Preview
Tracklist:
1. Sibelius: Scènes historiques II, Op. 66: No. 1, The Hunt (7:53)
2. Sibelius: Lemminkäinen Suite, Op. 22 "Legends of the Kalevala": No. 2, The Swan of Tuonela (7:58)
3. Sibelius: Suite from Pelléas and Mélisande, Op. 46: No. 1, At the Castle Gate (4:27)
4. Sibelius: Rakastava, Op. 14: I. The Lover (4:32)
5. Sibelius: Suite from Pelléas and Mélisande, Op. 46: No. 2, Mélisande (4:01)
6. Sibelius: Rakastava, Op. 14: II. The Way of the Lover (2:48)
7. Sibelius: Scènes historiques I, Op. 25: No. 1, All'overtura (5:16)
8. Sibelius: Suite from Pelléas and Mélisande, Op. 46: No. 7, Mélisande at the Spinning Wheel (2:22)
9. Sibelius: Rakastava, Op. 14: III. Good Night My Beloved... Farewell (5:39)
10. Sibelius: Scènes historiques I, Op. 25: No. 2, Scena (6:33)
11. Sibelius: Suite from Pelléas and Mélisande, Op. 46: No. 9, The Death of Mélisande (5:58)
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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