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艺术家：鲁弗斯·米勒，哈默钢琴三重奏组
标题：哦，那些甜蜜的时光
发行年份：2021年
厂牌：Rubicon
类型：古典音乐
音质：无损FLAC/24位-44.1千赫兹FLAC+小册子
总时长：00小时48分22秒
总大小：225兆字节/439兆字节
网站：专辑预览
曲目列表
01. 二十五首苏格兰歌曲，作品108号：XXV. 我们小巷里的萨莉（苏格兰民歌改编）
02. 二十五首苏格兰歌曲，作品108号：IV. 伊斯拉的少女（苏格兰民歌改编）
03. 二十五首苏格兰歌曲，作品108号：XVI. 这个糟糕的世界（苏格兰民歌改编）
04. 二十五首苏格兰歌曲，作品108号：XVII. 哦，玛丽，守在你的窗前（苏格兰民歌改编）
05. 二十五首苏格兰歌曲，作品108号：II. 日落（苏格兰民歌改编）
06. 二十五首苏格兰歌曲，作品108号：X. 同情（苏格兰民歌改编）
07. 二十五首苏格兰歌曲，作品108号：XII. 哦，愿我的命运（苏格兰民歌改编）
08. 二十五首苏格兰歌曲，作品108号：XXIII. 牧羊人的歌（苏格兰民歌改编）
09. 二十五首苏格兰歌曲，作品108号：VIII. 因弗内斯的可爱姑娘（苏格兰民歌改编）
10. 二十五首苏格兰歌曲，作品108号：XVIII. 迷人的女郎，再会（苏格兰民歌改编）
11. 二十五首苏格兰歌曲，作品108号：XX. 忠诚的约翰尼（苏格兰民歌改编）
12. 十二首苏格兰歌曲，WoO156：VII. 波莉·斯图尔特（苏格兰民歌改编）
13. 二十五首苏格兰歌曲，作品108号：III. 哦，那些甜蜜的时光（苏格兰民歌改编）
14. 二十五首苏格兰歌曲，作品108号：XXIV. 再一次，我的七弦琴（苏格兰民歌改编）
15. 二十五首苏格兰歌曲，作品108号：VII. 漂亮的小伙子（苏格兰民歌改编）
爱丁堡的企业家、收藏家兼出版商乔治·汤姆森，在英国本土人才之外，还邀请了（包括）海顿、卡尔·马利亚·冯·韦伯和贝多芬等人，延续约瑟夫·海顿与威廉·纳皮尔在18世纪90年代开启的事业。
贝多芬总是对潜在的出版机会感兴趣，他热切关注着海顿的民歌项目所开创的事业；而额外的创作佣金也是一个吸引人的激励因素。海顿的报酬是每首歌一英镑——约合今天的138英镑——贝多芬在与汤姆森谈判时明确提到了这一细节。
然而，正如贝多芬传记作者巴里·库珀所说，作曲家除了金钱报酬外，还感受到了民歌旋律的永恒力量，以及自己参与该项目可能带来的长远益处，从而与汤姆森共同为后代开创一场民歌运动。
贝多芬交出了富有挑战性的改编曲，而汤姆森却难以销售，于是请求贝多芬简化编曲。贝多芬的回应绝妙而直率：“我不习惯修改自己的作品：我从未这样做过，因为我确信任何局部的改动都会改变作品的特性。很遗憾你遭受了损失，但你不能责怪我，因为你本应让我更好地了解贵国的品味和演奏者的有限能力。”
Artist: Rufus Müller, Hammer Clavier Trio
Title: Oh sweet were the hours
Year Of Release: 2021
Label: Rubicon
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 00:48:22
Total Size: 225 / 439 mb
WebSite: Album Preview
Tracklist
01. Twenty Five Scottish Songs, Op. 108: XXV. Sally in Our Alley (Scottish Folksong Arrangements)
02. Twenty Five Scottish Songs, Op. 108: IV. Maid of Isla (Scottish Folksong Arrangements)
03. Twenty Five Scottish Songs, Op. 108: XVI. Could this Ill World (Scottish Folksong Arrangements)
04. Twenty Five Scottish Songs, Op. 108: XVII. Oh Mary, at thy window be (Scottish Folksong Arrangements)
05. Twenty Five Scottish Songs, Op. 108: II. Sunset (Scottish Folksong Arrangements)
06. Twenty Five Scottish Songs, Op. 108: X. Sympathy (Scottish Folksong Arrangements)
07. Twenty Five Scottish Songs, Op. 108: XII. Oh, had my fate (Scottish Folksong Arrangements)
08. Twenty Five Scottish Songs, Op. 108: XXIII. The Shepherd's Song (Scottish Folksong Arrangements)
09. Twenty Five Scottish Songs, Op. 108: VIII. The lovely lass of Inverness (Scottish Folksong Arrangements)
10. Twenty Five Scottish Songs, Op. 108: XVIII. Enchantress, farewell (Scottish Folksong Arrangements)
11. Twenty Five Scottish Songs, Op. 108: XX. Faithfu' Johnnie (Scottish Folksong Arrangements)
12. Twelve Scottish Songs, WoO156: VII. Polly Stewart (Scottish Folksong Arrangements)
13. Twenty Five Scottish Songs, Op. 108: III. Oh! Sweet were the hours (Scottish Folksong Arrangements)
14. Twenty Five Scottish Songs, Op. 108: XXIV. Again, My Lyre (Scottish Folksong Arrangements)
15. Twenty Five Scottish Songs, Op. 108: VII. Bonnie Laddie (Scottish Folksong Arrangements)
George Thomson, an enterprising collector and publisher based in Edinburgh, reached out beyond domestic British talent to (among others) Haydn, Carl Maria von Weber and Beethoven to continue the work established by Joseph Haydn and William Napier in the 1790s.
Always attracted to potential publishing exploitation, Beethoven took an avid interest in what Haydn’s folksong venture had begun; and an appealing additional incentive was the commission fee. Haydn’s rate had been a British pound per song - about £138 in today’s money - a detail which Beethoven made known in negotiations with Thomson.
However, as Beethoven biographer Barry Cooper suggests, the composer also sensed beyond monetary compensation the perennial power of the folk-melody and the potential ensuing benefit of his own musical association with the project, so as to create with Thomson a folksong movement for future generations.
Beethoven delivered the challenging arrangements and Thomson struggled to sell them, asking Beethoven if he could simplify his arrangements. Beethoven’s wonderfully dusty response was “I am not accustomed to retouching my compositions: I have never done so, certain of the truth that any partial change alters the character of the composition. I am sorry that you are the loser, but you cannot blame me, since it was up to you to make me better acquainted with the taste of your country and the little facility of your performers.”
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