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David Oistrakh -《奥伊斯特拉赫苏联广播电台录音》(Historic Russian Archives)Brilliant Classics[APE]

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  • 时间: 2007/09/09 00:02:19 发布 | 2007/09/10 01:30:12 更新
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专辑英文名Historic Russian Archives
专辑中文名奥伊斯特拉赫苏联广播电台录音
艺术家David Oistrakh
资源格式APE
版本Brilliant Classics
地区俄罗斯
简介

IPB Image


发行公司: Brilliant Classics
CD编号: 92609
资源出处(Credit): EMULE搜索,和 demonoid (原发人不明)

专辑介绍:

Perhaps the greatest of all the "Russian" violinists of the twentieth century, happy in all aspects of the repertoire, David Fyodorovich Oistrakh was born, of Jewish parents, in the southern Ukrainian city of Odessa on 30th September 1908. Initially known as David Kolker, he took the name of this stepfather, an amateur violinist himself who also owned a basement shop in the town. Oistrakh's mother, Isabella Stepanovka, was also a musician, singing at the state Operat House where she often took her young son to hear the orchestra as a special treat.

At the age of five, young David was presented with a one eight size violin and began studying both violin and viola seriously with the local teacher, Piotr Stolyaksky amongst whose other pupils was the great Nathan Milstein, with whom the young beginner was to share his first concert appearance in 1914, when Milstein graduated from the Conservatoire. In 1923, Oistrakh himself entered the Odessa Conservatoire where he studied until 1926 - here he played the Bach A minor Concerto and gave his first public solo recital. His 1926 graduation concert consisted of Bach's Chaconne, Tartini's Devil's Trill Sonata, Rubinstein's Viola Sonata and Prokofiev's D major Concerto. By 1927, he was playing Glazunov's violin concerto in Kiev and Odessa with the composer conducting - a concert which gave him an invitation to play in Leningrad with the Philharmonic Orchestra under Nikolai Malko the following year.

In the same year, Oistrakh decided to move to Moscow where he gave his first recital and met his future wife Tamara Rotareva, a pianist, who he was to marry a year later. In 1931, their only child Igor was born, a son who was to follow in his father's footsteps and would be heard later playing violin with his father in works such as the Bach Double Concerto. From 1934 onwards he received a position teaching at the Moscow Conservatoire where he was made Professor in 1939. He soon found international fame by winning several national and internation competitions including the 1935 Soviet Union competition. Disappointment came when he gained only second prize, after the sixteen year old prodigy Ginette Neveu, at the Wieniawksi competition in Warsaw of the same year, but in 1937 he received first prize again at the Eugene Ysaye competition in Brussels. During the period he also began a lengthy friendship and partnership with the great Lev Oborin, as well as coming under the influence of Jacques Thibaud. The war years saw him active in the Soviet Union premiering the new concertos of Miaskovsky and Khachaturian as well as the two sonatas of his friend Prokofiev and winning the Stalin Prize in 1942. The final years of the war saw the blossoming of a friendship with Shostakovich which would lead to the two violin concertos and the sonata, all of which were to be premiered by and become firmly associated with Oistrakh in the following years. As well as these major events, Oistrakh spent much time during the war years, playing for soldiers and factory workers under intensely difficult conditions.

The end of the war allowed Oistrakh to travel aboard to countries in the Soviet block and even to the West. His first foreign engagement was to appear at newly founded "Prague Spring" Festival where he met with enormous success. In 1951 he appeared at the "Maggio Musicale" Festival in Florence, in 1952 he was in East Germany for the Beethoven celebrations, France in 1953, Britain in 1954 and eventually in 1955 he was allowed to tour the United States. By 1959, he was beginning to establish a second career as a conductor and in 1960 he was awarded the coveted Lenin Prize. His Moscow conducting debut followed in 1962 and by 1967 he had established a duo with the celebrated Soviet pianist Sviatoslav Richter.

1968 saw wide celebrations for the violinist's sixtieth birthday which included a celebratory performance in the Great Hall of the Moscow Conservatory of the Tchaikovsky concerto, one of his favourite works, under the baton of Gennady Rozhdestvensky. Oistrakh was now seen as a companion to the great violinists of his time such as the Romanian Enescu and the British Menuhin. But by now, Oistrakh had already begun to suffer from the heart condition which would eventually kill him; he had suffered a heart attack as early as 1964. He continued to work at a furious pace and had already become one of the principal cultural ambassadors for the Soviet Union to the West in live concerts and recordings. Oistrakh was to die of another heart attack, far away from home in Amsterdam, after conducting a cycle of Brahms with the Concertgebouw Orchestra.

Oistrakh's playing is notable for its sweetness, evenness of tone and its power, together with a lack of over-showiness and any aspects of coarseness and self-indulgence. He was a performer of wide tastes and enormous capabilities ranging from the works of Bach to the great twentieth century masterpieces of Shostakovich, Sibelius and Hindemith as well as revelling in the Romantic lyricism of Tchaikovsky and Bruch. As well as all this and giving premieres of notable works still associated with him and whose inital successes are due to him, he was a fine conductor, a superb chamber music player and a great teacher. It is inevitable that some of his later performances do not have quite the magic of those given at his peak but he remains the Soviet Union and perhaps the world's great violinist and teacher of the mid twentieth century.

Mendelssohn's E minor violin concerto is certainly one of the most popular and often played works of its kind and a perfect example of the Byronic Romanticism of its time. Completed in 1844, it took its composer six years to write the work for the violinist Ferdinand David, whose advice he took during the composition. The work in in three movements beginning with a soaring Allegro molto appassionato with a particularly lyrical second subject. The second movement is a serene Andante which leads to an infectious final Allegro vivace dance.

The Dvorak concerto dates from 1872 but after consultations with the great violinst of the time, Joachim, it reached its final stage in 1873. It is a happy work in Dvorak's typical folk based style, it remains a particularly fine example of a mixture of Brahms and the countryside Dvorak so loved.

Oistrakh will always be associated with the two great Shostakovich concertos, both of which he premiered. Whereas the earliest was composed in 1947-48, it did not receive its premiere until 1955 and contains some of the finest music for violin of the twentieth century - particularly in the central Adagio. The second concerto was conceived by Shostakovich as a present for Oistrakh's sixtieth birthday and returns to a conventional three movement form, showing the paring down that was typical of the composer's later works.

Lalo was something of a minor composer with a few justly popular compositions. Much can be said of his stage works "Le Roi d'Ys" and Namouna but the Symphonie Espagnole of 1874 is his most popular work. It manages to blend the elements of a symphony and a concerto in the Spanish style typified by Bizet in his opera Carmen. It was first performed by Sarasate in 1875 (the same year as Carmen) and consists of an opening Sonata form Allegro followed by a Pizzicato scherzo and an Intermezzo in ternary form. The lyrical slow movement is more emotionally stretching yet ends tranquilly to be followed by a virtuostic finale in the style of a Habanera. Whereas Lalo used Spanish themes, Bruch made sumptuous use of Scottish themes in his Fantasy, a work that suits the passionate lyricism of Oistrakh's playing.

Beethoven's only concerto for violin was central to Oistrakh's repertoire and he gave it a typically lyrical and sensitive reading. The concerto was first performed by Franz Clement in December 1806 and consists of three movements with a symphonic opening Allegro and a deeply moving Larghetto, all rounded by a jovial Allegro rondo finale. Particularly moving are the two violin Romances, small pieces filled with touching inspiration.

Kabalevsky and Taneyev represent Oistrakh on home ground; the former dates from 1948 and is a simple work composed in a simple but highly lyrical mood with a particularly bitter sweet slow movement ideally interpreted here by Oistrakh. Taneyev's Suite meanwhile draws on echoes of Bach in its five movement form although giving nods along the way to Tchaikovsky, particularly in the lengthy fourth movement, a theme and variations, not unlike the earlier composer's Third Suite.

Prokofiev was a composer particularly close to Oistrakh. His first violin concerto dates from 1914 and is a work of youthful individuality with a particularly felicitous opening. It was first played in Paris in 1923 and soon taken up by the great virtuoso Szigeti. The plan of the work is unusual in that the outer movements are slow in tempo, framing a central technically brilliant Scherzo.

Probably the most often played of Russian violin concertos is that of Tchaikovsky - a particular favourite of Oistrakh's and the choice for his sixtieth birthday concert. This is high Romantic lyricism, drama and a heart on sleeve emotion. With elements of drama in the lengthy opening Allegro, a serene Canzonetta slow movement and a vital dance movement finale, this is Oistrakh at his best.

Oistrakh came late to the Sibelius concerto but made it very much his own, imparting a sense of passionate lyricism to the Finnish composer seldom found elsewhere. Again the work is in three movements and has much in common, at least in Oistrakh's conception, with the Tchaikovsky - a brooding passionate opening movement, serene slow movement and lively finale.

Bartok's first concerto was originally written for the violinist Stefi Geyner, an intimate friend of the composer. In 1911, he issued the work as "Two Portraits - Ideal and Grotesque" but it was not until Geyer's death in 1956 that the work was published as we know it now. The work still seems somehow incomplete but there is little doubt to the quality of the music in the yearning Andante and the subsequent high jinks of the finale.

Szymanowski and Hindemith could hardly be more contrasted, the former writing a meandering and highly perfumed fantasy for violin against orchestra with a luscious main theme and dense chromaticism, the latter writing a somewhat typically astringent piece that was never more beautifully realised than in Oistrakh's performances - something of a miracle of interpretation particularly in the central slow movement.

Apart from the small individual pieces included here, the final three concertos are all by Russian composers of the twentieth century, moving from the conventional lyricism of Glazunov's somewhat outdated concerto, first performed by its dedicatee, the great Leopold Auer in 1905, to the brusque neo classicism (sic) of Stravinsky's 1931 concerto written for Samuel Dushkin. Both are appealing works in their own ways, the Stravinsky taking up the challenges of Bach whereas the Glazunov contents itself with a non too stretching but nevertheless pleasing sub-Tchaikovskian lyricism.

Miaskovsky's D minor concerto is together with his cello concerto one of the composer's most attractive works. It was premiered by Oistrakh in January 1939 and consists of an opening lengthy brooding Allegro which the composer claimed was written in 3 months whereas the following Tchaikovskian slow movement took only two days and the folksy elements which pervade an otherwise serious finale took a mere four days to set down.

All in all, a series of performances to treasure and a fitting memorial to a great artist.

--Dr. David Doughty



CD01

费利克斯·门德尔松 (Felix Mendelssohn), 1809-1847
Violin Concerto in E minor, Op. 64

德国作曲家,与舒曼同为德国浪漫主义音乐的杰出代表。门德尔松的音乐活动是多方面的,他首先作为一个钢琴演奏家受到欢迎,后来他担任一些歌队和东队的指挥,并开始进行创作。1843年他创建了德国第一所音乐学院—莱比锡音乐学院,对德国的音乐艺术教育做出了重要贡献。门德尔松的作品以管弦乐为主,其中最有代表性的是《仲夏夜之梦》序曲、《苏格兰交响乐》和《意大利交响乐》。作为当时著名的钢琴演奏家,门德尔松也写了许多著名的钢琴曲。《无言歌》便是其突出的代表,这48首短篇钢琴曲感情丰富细腻,形象具体真诚,形式简洁完美,手法朴素且极富于歌唱性。因此非常受广大市民的欢迎。

门德尔松的这首小提琴协奏曲OP. 64,完成于1844年,为当时格万特豪斯乐团首席小提琴菲迪南-大卫(Ferdinand David,1810-1873年)而作,构思诞生于1838年。1845年3月13日由大卫首演。这首协奏曲,是门德尔松所有作品中最杰出者,也是浪漫主义小提琴协奏曲中的佼佼者,与贝多芬、布拉姆斯、柴科夫斯基的协奏曲并称为四大最著名的小提琴协奏曲。共3个乐章:

1.热情的很快的快板,E小调,奏鸣曲式。
以弦乐分散主和弦的喃喃低语开头,主奏小提琴奏优美而又带有忧郁的第一主题。主奏小提琴技巧复杂的经过句后,第一主题再由乐队呈示。在双簧管与第一小提琴表达后,主奏小提琴又展示技巧。第二主题为G大调,先由长笛与单簧管四重奏表现,主奏小提琴接替后结束呈示部。发展部以主奏小提琴发展第一主题始,木管呈示第一主题开头动机而加人,主奏小提琴再由开头动机进人华彩。再现部第一主题由长笛、单簧管静静地开始,主奏小提琴反复。第二主题再由木管以E大调再现,主奏小提琴反复。结尾主奏小提琴的华彩转向急板而达高潮。

2.行板,C大调,三段体。
第一低音管以B音始,转人C大调后,主奏小提琴奏极优美的主题,乐队伴奏。中段由第一小提琴与双簧管呈示庄严的主题,主奏小提琴装饰变奏。第三段发展第一段。

3.序奏为不太快的稍快板,E小调,以第二乐章中段主题为基础发展。主部为活泼的快板,转成E大调,奏鸣曲式。
第一主题开头动机反复4次后,活泼地展开第一主题,经经过句,第二主题以B大调由乐队呈示,主奏小提琴接替。发展部由主奏小提琴以第一主题始,出现新旋律,乐队与主奏小提琴的表现交替。再现部第一、二主题同时以E大调呈现,结尾部主奏小提琴奏长大的颤音后,乐队以辉煌而结束。

原文:http://lib.VeryCD.com/2005/04/28/0000048580.html

安东尼·德沃夏克 (Antonin Dvorak), 1841-1904
Violin Concerto in A minor, Op. 53

德沃夏克的父亲Franti?ek Dvo?ák经营祖传的客栈和肉商店。他的母亲Anna Zděnková是一名货物看守的女儿。两人1840年11月17日成婚,安东尼是他们第一个儿子,他有八个弟弟。

6岁的时候他就上Nelahozeves的小学,在那里他第一次上小提琴课。1853年他迁往兹洛尼斯,学习德语。当时德语是波希米亚的生存之本。在那里他跟随教堂唱诗班领唱Antonín Liehmann钢琴和管风琴。在此期间他会间或演奏管风琴帮补家计。他还在他老师的乐队中演奏,开始作曲。有一个由来已久而且由一封伪造的满师证书所支持的传言,说德沃夏克的双亲强迫安东尼学习屠宰技术,但目前没有任何证据证明这个传言的真实性。

1856年秋德沃夏克去?eská Kamenice,据推测他是去进修德语和准备到德语教学的布拉格管风琴学校上课。1857年10月他上了两年的管风琴学校,还有到一所普通学校就学,还作为中提琴手在一年登台两次的C?cilien协会乐队演出。

原文:
维基百科

State Symphony Orchesta of USSR with David Oistrakh
Conducted by Kirill Kondrashin

25 X 1949
1. Mendelssohn - Violin Concerto in E minor, Op. 64, I Allegro molto appassionato
2. Mendelssohn - Violin Concerto in E minor, Op. 64, II Andante
3. Mendelssohn - Violin Concerto in E minor, Op. 64, III Allegretto non troppo - Allegro molto vivace

7 IX 1949
4. Dvorak - Violin Concerto in A minor, Op. 53, I Allegro ma non troppo
5. Dvorak - Violin Concerto in A minor, Op. 53, II Adagio ma non troppo
6. Dvorak - Violin Concerto in A minor, Op. 53, III Finale. Allegro giocoso ma non troppo

CD02

季米特里·肖斯塔科维奇 (Dmitri Shostakovich), 1906-1975
Violin Concerto No. 1 in A minor, Op. 99
Violin Concerto No. 2 in C-sharp minor, Op. 129

肖斯塔科维奇一生主要生活在苏联时期。 他最重要的作品是他的交响曲和弦乐四重奏,各15首,以及歌剧《姆青斯科县的麦克白夫人》(Леди Макбет Мценского уезда)。他的交响曲创作的高峰期在1930-1940年代,弦乐四重奏则是在后期(1960-1970年代)。最近几年来,肖斯塔科维奇的电影音乐(约40余部)越来越受到音乐评论家的重视,其中很多已被录制成唱片。

肖斯塔科维奇的《第一小提琴协奏曲A小调》完成于1947年,这一作品是为他的朋友同时也是他的室内乐搭挡奥依斯特拉赫而创作的。由于苏联当时的政治原因,该作品直至1955年才得到公演。与交响乐一样,这一协奏曲也分四个乐章,顺序是:慢快慢快。乐章的安排明显带有肖作品中常有的象征意义。夜曲所描绘的并不是同名乐曲通常表达的夜半情侣幽会的情景,而是黑暗降临的一种时间概念。诙谐曲则表达了一种疯狂,即是主宰我们生活的每天无休止的忙碌,同时也表现了作曲家对犹太流浪音乐家在思想感情上的认同,乐曲在这里承载更多的是作曲家无言的悲痛。在乐章帕萨卡利亚中,乐曲所蕴涵的意义在肖的作品中时常出现,它其实也是为斯大林主义时代众多的受害者所创作的另一种形式的安魂弥撒。在最后一章中,通过小提琴演奏的华彩乐段把那些年代所有的焦虑和疯狂表现的淋漓尽致!

原文:
维基百科
http://lib.VeryCD.com/2005/07/09/0000056471.html

Leningrad Philharmonic Orchetra with David Oistrakh
Conducted by Evgeny Mravinsky
18 XI 1956
1. Shostakovich - Violin Concerto No. 1 in A minor, Op. 99, I Nocturne. Moderato
2. Shostakovich - Violin Concerto No. 1 in A minor, Op. 99, II Scherzo. Allegro
3. Shostakovich - Violin Concerto No. 1 in A minor, Op. 99,
III Passacaglia. Andante -
IV Burlesque. Allegro con brio

Moscow Philharmonic Orchestra with David Oistrakh
Conducted by Gennady Rozhdestvensky
27 IX 1968
4. Shostakovich - Violin Concerto No. 2 in C-sharp minor, Op. 129, I Moderato
5. Shostakovich - Violin Concerto No. 2 in C-sharp minor, Op. 129, II Adagio - Allegro

CD03

爱德华·拉罗(édouard Lalo), 1823-1892
Symphonie Espagnole

在19世纪的法国乐坛上,拉罗并不是多么耀眼的人物。不过他的这首《西班牙交响曲》倒是一直光耀下来了,成为自萨拉萨特以来的小提琴家们人人必演的名曲。他实际上是一首五个乐章的小提琴协奏曲,是拉罗四首同类作品中的第二首,题献给那时的小提琴大师萨拉萨特,并且由萨氏于1875年作了首演。之所以叫“交响曲”,则显然是考虑到他的五个乐章都不曾安排小提琴独奏的华彩段,而始终让他和乐队交织在一起,这便更像是有独奏乐器参与的交响组曲了。无论如何,这首曲子是非常好听的,每个乐章都十分浪漫,众多优美的曲调以及整体气氛都十分诱人,警官在意境上略嫌单薄。
顺便说说,晚至20世纪前半叶,大多数名家演奏此曲,还是习惯于删去中间的“间奏曲”,只演四个乐章。海菲兹就是一例。第一个纠正风气的,大概要算梅纽因1932年与埃乃斯库合作的录音。当然现在是没有人在那样做了。

原文: 李杭育《唱片经典》

马克斯·布鲁赫 (Max Bruch), 1838-1920
Scottish Fantasy, Op. 46

德国作曲家,自幼受其母(名歌唱家)的教育,显露出杰出的音乐天赋。十四岁获莱茵河畔法兰克福的莫扎特奖学金,受教于希勒、莱耐克等人。1858年回乡任教,1865年起先后任科隆音乐厅音乐指导、施瓦茨堡桑德斯豪森亲王的乐队长、斯特恩歌唱协会指挥。1880年任英利物浦爱乐协会音乐指导。1883年回国任布雷斯劳和柏林两地的音乐指导和音乐学院作曲主任。曾先后被剑桥大学、柏林大学、布雷斯大学授予名誉博士学位。1908年获普赫士功绩勋章。他的创作与德国古典传统一脉相承,并受益于对民歌的广泛接触和研究。旋律优美动听,充满激情,曲式严谨自然,音响效果美丽淳朴。写有交响曲、协奏曲、歌剧、清唱剧、室内乐等各种体裁形式的音乐作品。其中最具代表性的是:两首小提琴协奏曲(g小调和d小调)、《苏格兰幻想曲》、歌剧《罗勒莱》等。

《布鲁赫g小调》,第一号,小提琴协奏曲,作于1866年,当时作者年仅二十八岁。布鲁赫一生中共留给世人三部提琴协奏曲,其中第一号(即本曲)是继门德尔松的《e小调小提琴协奏曲》之后,被演奏得最多的小提琴协奏曲之一,因而特别著名,同时也堪称为布鲁赫的代表作。此曲的旋律多少带有一些甜蜜的伤感,并且具有名演奏家所喜爱的演奏效果,形式虽然是普通的三乐章,但又比一般的协奏曲形式自由许多,甚至有些人还把本曲的第一乐章当做前奏曲。这首乐曲之所以会如此受世人喜爱,是因为它充满了旋律上的创意与形式上的自由,在技巧方面虽然不很容易,却也不至于过分艰深。

第一乐章 前奏曲,中庸的快板,g小调,4/4拍子, 相当自由的奏鸣曲形式。主奏小提琴奏出雄壮而强有力的第一主题,主题的处理方法相当豪迈。不久,主奏小提琴进入娇柔优美的第二主题。旋律经过发展后逐渐平静下来,由此不间断地直接进入第二乐章。

第二乐章 慢板,降E大调,3/8拍子。 本乐章充满了作者最为得意的旋律美感与歌谣性。在弦乐器的和弦伴奏下,主奏小提琴奏出甜美而带有冥想性美感的主题。这个歌谣性乐章经过了三个主题呈示后,慢慢趋向高潮。最后,开头的主题在几次转调后回到原调,形成结尾。

第三乐章终曲,有活力的快板,G大调,2/2拍子,奏鸣曲形式。这是强劲有力而华美的终曲。主奏小提琴奏出强劲有力、很有特色的第一主题,这一主题持续了相当长的时间以后,乐曲才移向单纯而有力的第二主题。尾奏是以第一主题为素材,慢慢趋向高潮,最后变成急板,一气呵成地结束全曲。

原文:http://lib.VeryCD.com/2005/04/12/0000046182.html

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Kirill Kondrashin
1 I 1947
1. Lalo - Symphonie Espangnole, I Allegro non troppo
2. Lalo - Symphonie Espangnole, II Scherzo. Allegro molto
3. Lalo - Symphonie Espangnole, III Intermezzo. Allegretto non troppo
4. Lalo - Symphonie Espangnole, IV Andante
5. Lalo - Symphonie Espangnole, V Rondo. Allegro

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
24 XII 1960
6. Bruch - Scottish Fantasy, Op. 46, I Allegro
7. Bruch - Scottish Fantasy, Op. 46, II Adagio
8. Bruch - Scottish Fantasy, Op. 46, III Finale. Allegro guerriero

CD04

路德维希·凡·贝多芬 (Ludwig van Beethoven), 1770-1827
Violin Concerto in D major, Op. 61

D大调小提琴协奏曲作于1806年,是贝多芬唯一的小提琴协奏曲作品,被誉为小提琴协奏曲之王。这首乐曲旋律柔美、格调高雅、规模宏大,颇具王者风范。然而,本曲在被誉为小提琴协奏曲之王前,也经过很长一段时间的考验。本曲初演以后,几乎没有人再对它回顾,本曲的华彩乐段,并不像钢琴协奏曲那样由贝多芬亲自谱写,而是留给各式各样的演奏者谱曲,其中较常采用的有约阿西姆、奥尔和克莱斯勒等的手笔。当年贝多芬作曲时,正值他与他的学生,匈牙利的伯爵小姐勃伦斯威克产生了深深的爱情,并在她家的庄园度过了快乐的夏天。他一生中这"最明朗的日子的香味"便渗透在贝多芬这部唯一的小提琴协奏曲中。

第一乐章,从容的快板,D大调,4/4拍子,协奏风格的奏鸣曲形式。主部主题带有深切的探询意味,随后呈现的副部主题旋律明澈柔美,从容匀称,充满了温暖和喜悦,飘散出美丽花朵的芬芳。本乐章最后部分的华彩乐段是由不同的演奏家谱写的。

第二乐章,抒情的慢板,G大调,4/4拍子,变奏曲式。优美的主题由加上弱音器的弦乐群单独呈示,充满舒缓恬淡的气氛。主奏小提琴以华彩的风格翩翩上升、下降后,旋律如歌般地呈现出来。

第三乐章,回旋曲,快板,D大调,6/8拍子,回旋曲形式。主奏小提琴旋律给人以深刻的印象。在延长记号之后,主奏小提琴展现了它精彩灿烂的技巧,最后终于进入了炫耀琴技的华彩部分。此部分结束,音乐以回旋主题为基础,达到光华灿烂的高潮巅峰,结束全曲。

原文:http://lib.VeryCD.com/2005/04/28/0000048580.html

"Romance"在十八、十九世纪的器乐曲中,常是一种慢板、句法工整,且以抒情歌唱性为特征的乐曲形式,例如海顿Hob. 85交响曲的第二乐章,就是个例子,然而在十九世纪时,Romance有时也成了一种单独器乐小品的标题,以贝多芬最著名的这两首小提琴与管弦乐小品—— G大调与F大调'Romance'而言,它们就具备了抒情歌唱的性质。

F大调"Romance"作于1802至1803年间,为贝多芬仅有的两首小提琴罗曼史之一,据说可能是贝多芬为一首未完成小提琴协奏曲所写作的第二乐章,而今此乐章则是以小提琴小品的风貌呈现。全曲是由几个极优美动听的旋律贯穿而成,这些连绵不断,一句接着一句的旋律,除了具有相当抒情浪漫的风味,其在于音乐张力的呈现,以及音乐线条的掌控方面,都明显是为小提琴音乐打造,一首富于歌唱性的小提琴与管弦乐音乐,而贝多芬在此曲的开头标明着Adagio cantabile(慢板如歌的),不仅提示了演奏者此曲的风格,也描述了此曲所将呈现出的最大特征。

F大调【第二小提琴罗曼史】 (Op.50)迷人的浪漫色彩与G大调【第一小提琴罗曼史】(Op.40)所具有的男性威严相反,F大调"Romance"则在某种程度上透出女性般的妩媚和优雅,从而使这两首曲子形成一对风格相对的姐妹佳作。尤其F大调罗曼史以“如歌的慢板”舒展深情,最为动人。此曲处处洋溢着优美绝伦的韵律。G大调罗曼史为回旋曲式,其中第二主题华丽异常,乐队与小提琴的对话、双簧管和低音管的窃窃私语的相互对话都极具特色。虽然十分短小,却玲珑婉转,更见精致和韵味,也是雅俗极宜的。

原文:http://lib.VeryCD.com/2005/10/15/0000069769.html

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
25 XII 1962
1. Beethoven - Violin Concerto in D Major, Op. 61, I Allegro ma non troppo
2. Beethoven - Violin Concerto in D Major, Op. 61, II Larghetto
3. Beethoven - Violin Concerto in D Major, Op. 61, III Rondo

路德维希·凡·贝多芬 (Ludwig van Beethoven), 1770-1827
Romance for violin and orchestra No. 1 in G major, Op. 40
Romance for violin and orchestra No. 2 in F major, Op. 40

Moscow Philharmonic Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
27 IX 1968
4. Beethoven - Romance for violin and orchestra No. 1 in G major, Op. 40
5. Beethoven - Romance for violin and orchestra No. 2 in F major, Op. 50

CD05

季米特里·卡巴列夫斯基 (Dmitri Kabalevsky), 1904-1987
Violin Concerto in C major, Op. 48

谢尔盖·伊凡诺维奇·塔涅耶夫 (Sergey Ivanovich Taneyev), 1856-1915
Concert Suite for violin & orchestra, Op. 28

Kabalevsky and Taneyev represent Oistrakh on home ground; the former dates from 1948 and is a simple work composed in a simple but highly lyrical mood with a particularly bitter sweet slow movement ideally interpreted here by Oistrakh. Taneyev's Suite meanwhile draws on echoes of Bach in its five movement form although giving nods along the way to Tchaikovsky, particularly in the lengthy fourth movement, a theme and variations, not unlike the earlier composer's Third Suite.

原文:Dr. David Doughty

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Carl Eliasberg
12 V 1949
1. Kabalevsky - Violin Concerto in C major, Op. 48, I Allegro molto e con brio
2. Kabalevsky - Violin Concerto in C major, Op. 48, II Andantino cantabile
3. Kabalevsky - Violin Concerto in C major, Op. 48, III Vivace giocoso

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Kurt Sanderling
20 IX 1960
4. Taneyev - Concert Suite for violin & orchestra, Op. 28, I Prelude
5. Taneyev - Concert Suite for violin & orchestra, Op. 28, II Gavotte
6. Taneyev - Concert Suite for violin & orchestra, Op. 28, III Tema con variazioni
7. Taneyev - Concert Suite for violin & orchestra, Op. 28, IV Fairy tale
8. Taneyev - Concert Suite for violin & orchestra, Op. 28, V Tarantella

CD06

谢尔盖·谢尔盖耶维奇·普罗科菲耶夫 (Sergei Sergeyevich Prokofiev), 1891-1953
Violin Concerto No. 1 in D major, Op. 19

普罗科菲耶夫是一仓库管理员之子,早年就显示出其音乐才华。4岁时他就跟着母亲学习钢琴,1896年就已开始创作。1902年和1903年普罗科菲耶夫在作曲家Reinhold Glière底下接受家庭授课,在接下来的1904年初,老师就介绍他认识了亚历山大·康斯坦丁诺维奇·格拉祖诺夫,后者立刻促成了普罗科菲耶夫在圣彼得堡音乐学院的学习。他的老师是里姆斯基-科萨科夫和阿纳托利·康斯坦丁诺维奇·列多夫。他在那里一直学习作曲,对位法,配器,钢琴和指挥直到1914年。除此之外他还登台演奏了自己的一些作品,很快就以其精湛的钢琴技巧赢得名声。直到1918年他一直留在俄国,不定期旅游还做过不少演出。

十月革命之后的苦况使得普洛科菲耶夫决定在1918年离开俄国到美国。但在美国他连脚还没站稳,就出了财政危机,不得不在1920年四月奔波到法国。接下来的几年,除了1922年/23他在埃塔尔(Ettal)短暂居住外,都留在了巴黎。1923年他与西班牙歌手卡罗林娜·科丁娜结婚,后者艺名为Lina Ljubera。普洛科菲耶夫的指挥和钢琴演奏事业还是在1927年将他第一次带还会苏联。思乡之情日上心头,他在接下几年来穿梭于巴黎于莫斯科之间,但最后,他还是在1936年选择了莫斯科。两年后他最后一次西游。在苏联普洛科菲耶夫经历了自己的创作之春,他许多重要的作品就是诞生在这片大地之上。1941年他抛妻弃子得选择了米拉·门德森(Mira Mendelson),两人于1948年结婚。1945年他倒下了,健康也开始转坏。1948年他被苏共指责,犯上了形式主义的错误,并被要求要注意作品的“民族性”。尽管这件事影响了普罗科菲耶夫的健康,可是他到死也没有停止过创作。1952年起他获得了国家津贴。但他在1953年3月5日去世了,正是当日,其苦难大施主约瑟夫·斯大林也同归天国。这有点讽刺之感,普天同悲斯大林之死,而同日的普罗科菲耶夫死也死在其阴影之下。普罗科菲耶夫的墓,就这样连花也没一朵。

普罗科菲耶夫的《第一小提琴协奏曲D大调》结合了传统与现代的素材,其非正统的风格与反传统的结构在上世纪二十年代首演之时曾引起非议:因为此曲第一乐章与终乐章都以宁静的方式表现,第二间乐章反而是快板,而且没有装饰音。但也正是这样的独特的安排,充分地表现出了作曲家的优异的想象力与出色的创作意念,例如梦幻般的开头旋律`水银般流动的诙谐曲`第一乐章与第三乐章纤巧温柔的乐段。虽然此曲首演时并未获得热烈的回响,但之后仍很快获得认同,被公认是二十世纪中最精致`或许也是最抒情迷人的小提琴协奏曲。

原文:
维基百科
http://lib.VeryCD.com/2005/07/09/0000056471.html

Moscow Philharmonic Orchestra of USSR with David Oistrakh
Conducted by Kyrill Kondrashin
7 IX 1963
1. Prokofiev - Violin Concerto No. 1 in D major, Op. 19, I Andantino - Andante assai
2. Prokofiev - Violin Concerto No. 1 in D major, Op. 19, II Scherzo. Vivacissimo
3. Prokofiev - Violin Concerto No. 1 in D major, Op. 19, III Moderato

彼得·伊里奇·柴科夫斯基 (Pyotr Ilyich Tchaikovsky), 1840-1893
Violin Concerto in D major, Op. 35

D大调小提琴协奏曲,作于1878年。是柴科夫斯基最著名的作品之一,与贝多芬的D大调、门德尔松的e小调、勃拉姆斯的D大调小提琴协奏曲并称为世界四大小提琴协奏曲。这首乐曲的特色不但充分发挥了主奏小提琴绚烂的近代演奏技巧,展开了色彩丰富的管弦乐,造出了比以往的小提琴协奏曲更新鲜的韵味,而且用他含有俄国民谣的地方色彩,独特的充满哀愁的优美旋律,作成了格调新颖、独特的作品。

由于这首乐曲是柴科夫斯基受到了拉罗作曲的《西班牙交响曲》的激发而作的,所以我们可以很容易地看出,两者之间有着共通的构想。这部小提琴协奏曲是一部欢快、活泼、充满青春气息的作品,它歌唱青春,歌唱生命,表现了俄罗斯人民的乐观主义精神。这首乐曲当初相当不受世人欢迎,然而历史最终证明这是一首绝无仅有的音乐杰作,在音乐舞台上久演不衰,成为许多著名小提琴家的保留曲目。

全曲共分三个乐章。

第一乐章,中庸的快板,D大调,4/4拍子,奏鸣曲形式。规模宏大的第一乐章表现了生活的乐趣。具有俄罗斯民间音乐的宽广气息和明朗悠扬的诗意。其主部主题具有动人的歌唱性,体现了俄罗斯歌曲宽广动人的气息,仿佛在歌唱青春、生命和大自然。

第二乐章,短歌,行板,g小调,3/4拍,三段体。其沉思般的抒情,被称为“小抒情曲”。主要旋律真挚动人,略带伤感。仿佛从远处传来一阵悠扬的歌声,使人嗅到了大自然清新的气息。

第三乐章,终曲,活泼的快板,D大调,2/4拍子,回旋奏鸣曲形式。主题令人有俄国风激烈地敲击之感,是属于俄国民俗舞曲特雷巴克的一种。以很强的节奏,快活地进行,宛如一幅人民欢庆节日的图画。

原文:http://bbs.breezecn.com/read.php?tid=117901

Moscow Philharmonic Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
27 IX 1968
4. Tchaikovsky - Violin Concerto in D major, Op. 35, I Allegro moderato
5. Tchaikovsky - Violin Concerto in D major, Op. 35, II Andante
6. Tchaikovsky - Violin Concerto in D major, Op. 35, III Allegro vivacissimo

CD07

让·西贝柳斯(Jean Sibelius), 1865-1957
Violin Concerto in D minor, Op. 47

西贝柳斯小提琴协奏曲,D小调,OP.47,作于1903年,修改于1905年。1903年版1904年2月8日由诺瓦切克(Novacek)主奏首演,1905年版该年10月19日由哈里尔[Karl Halir)主奏首演。共3个乐章。

1.中庸的快板,D小调,第一、二小提琴先分成四个声部,奏1)小调主和弦,主奏小提琴奏哀伤的第一主题,单簧管模仿主题开头后,主奏小提琴再将主题动机加以发展。呈示华丽动态、18世纪风格短小华彩后,单簧管以扩大五度下降动机结束第一主题部。在定音鼓持续D音上,先由大提琴、低音管为第二主题铺垫,低音管才呈示完整的第二主题,单簧管模仿,主奏小提琴予以对位。主奏小提琴奏降E大调上行琶音后转为降D大调,复弦奏第二主题,单簧管、低音管、中提琴对位。进入很快的快板,在木管与低音弦乐和弦上,小提琴齐奏降B小调第三主题,变为长笛柔和旋律后,由单簧管承接。主奏小提琴再出现转为确实的中板,G小调,华丽地展开华彩。然后再现前面三个主题,变为中庸的快板,低音管先以G小调奏第一主题,主奏小提琴承接。第二主题先由单簧管再现转为D大调,主奏小提琴承接发展终止于F大调?单簧管、低音管、中提琴予以对位。转为活泼的极快板,中提琴先以D小调再现第三主题,主奏小提琴装饰后,以第一主题动机而成尾奏,以八度音程奏华彩的开头快速音群,以强力主和弦结束。

2.很慢的慢板,降B大凋,浪漫曲表情,自由的三段体。单簧管奏导入动机,双簧管承接,主奏小提琴奏主要主题,弦乐予以装饰。第一段以降B大调结束后,中段弦乐奏导入部动机,长笛、小号变形模仿,再产生新的旋律,构成三重交错。第三段重现发展第一段。

3.不太快的快板,D大调,回旋曲式。在定音鼓与低音弦乐节奏上,主奏小提琴呈示回旋主题,高八度反复后,主奏小提琴把顽固音型发展成快速音群,经降B大调、 G小调,在D大调属七和弦结束回旋主题。第一、二小提琴、大提琴齐奏G小调第一插句,圆号持续D音与弦乐震音将这个上题分化,主奏小提琴以三连音型向前发展,单簧管以强音奏回旋主题动机,引出回旋主题再现。单簧管以D小调再引出第二插句,主奏小提琴以泛音对应,合奏再现回旋主题,主奏小提琴华丽地发展,第二插句缠绕后发展至高潮变为D大调。主奏小提琴以复弦奏跳跃的旋律,小提琴群与中提琴以齐奏反复第一主题节奏动机,圆号与低音弦乐反复节奏尖锐的D音后,华丽地结束。

西贝柳斯的作品里能够打破国界,融入世界音乐语汇的,当属《d小调小提琴协奏曲》,这部协奏曲里没有出现芬兰英雄史诗和神话传说,也没有遭受异族统治的怨怼,这是一部充满浪漫主义精神的杰作,被列入小提琴音乐的经典文献,是许多小提琴演奏家乐于接受挑战的曲目。

《d 小调小提琴协奏曲》写于1903年,经过两年多的修改润色,1905年公演。这首协奏曲刚刚问世的时候也和许多器乐协奏曲的经历一样,被认为技术上艰深复杂,不适合演奏,后来经过演奏家的努力,解决了演奏中的难点,这首小提琴名曲才被广泛地接受。在小提琴演奏技术愈加完备、教学手段更加丰富的今天,演奏西贝柳斯协奏曲已不是什么难题,但随之出现的是另一方面的问题,就是音乐表现,也就是前面说过的音乐是否“有国界”的问题。《d小调协奏曲》由于它强烈的浪漫主义气息,受到小提琴演奏家们的钟爱,几乎所有的本世纪演奏家都把这首曲子列入自己的演出曲目,英国出版的《企鹅激光唱片指南》收入的这首协奏曲的演奏版本多达近二十个,这还是经过精心汰选的,其中几乎包括了所有本世纪小提琴名家。《企鹅指南》不吝文墨地对这些录音版本作了详尽的评介,细致到演奏者的状态如何、麦克风位置离小提琴的远近、音场空间感等等,就是没有涉及音乐表现,或者说是音乐语句处理问题。事实上这是一个不易发现的问题,由于民族的差异和语言的隔阂,音乐的内质常常被忽略。

西贝柳斯孩提时代便表现出音乐才能,他五岁开始学音乐,能在钢琴上弹出即兴的旋律,还配上简单的和声。他接受系统的钢琴训练,对演奏并没有多大兴趣,却醉心于在键盘上即兴游戏。他15岁时对小提琴着了迷,并立志要成为小提琴演奏家,但这个年龄对于复杂的现代小提琴技术要求来说,已经太大了。16岁进赫尔辛基音乐学院,学的是作曲,同时也在练习小提琴,后来也达到了能在四重奏里拉第二小提琴的水平,但是他的小提琴演奏能力也就仅此而已了。西贝柳斯没能在小提琴演奏方面扬名于世,却为小提琴文库留下了《d小调协奏曲》这部名著。

西贝柳斯写《d小调协奏曲》是在1903年,在此之前,他早已在1897年开始领取政府的终身年金,这是一份优厚的待遇,他不必为此承担任何义务,只须埋首于他自己热爱的音乐事业,按照自己的方式去创作就是了。他无需像许多作曲家那样为生活所困。他把家搬到乡下,在宁静的湖边筑屋而居,在安宁的环境里沉醉于音乐之中。《d小调小提琴协奏曲》就是在这里创作、修改完成的。

《d小调小提琴协奏曲》遵从传统的三乐章协奏曲形式,第一乐章采用奏鸣曲式,乐曲开始没有像古典协奏曲那样由乐队呈示主题,和门德尔松、布鲁赫的《g小调协奏曲》一样,独奏小提琴直接登场,唱出悲婉浪漫的主题,在气氛上很像是北欧沉静的湖泊山林,主题经过发展,音乐逐渐热情,第二主题明朗的激情预示着高潮的即将到来,小提琴华采乐段富于激情,是浪漫抒情的光彩照人之处。第二乐章篇幅不长,是西贝柳斯所有作品里最优秀的浪漫曲,也是世界小提琴协奏曲里比较著名的柔板乐章之一。第三乐章进入快板,是一首狂野放浪的舞曲,粗重、笨拙,被评论家称之为“北极熊的波兰舞曲”。乐队与独奏小提琴之间展开竟奏,轮番歌唱,把乐曲一层层推向高潮,导向辉煌的尾声。

原文:http://bbs.breezecn.com/read.php?tid=117901

Moscow Philharmonic Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
14 II 1966
1. Sibelius - Violin Concerto in D minor, Op. 47, I Allegro moderato
2. Sibelius - Violin Concerto in D minor, Op. 47, II Adagio di molto
3. Sibelius - Violin Concerto in D minor, Op. 47, III Allegro ma non tanto

巴托克·贝拉 (Béla Bartók), 1881-1945
Violin Concerto No. 1, Sz. 36

巴托克的《第一小提琴协奏曲》作于1907-1908年,题献给当时他十分爱慕的匈牙利小提琴家斯坦菲·盖雅(Stefi Geyer,1888-1956)。因巴托克把手稿题献给盖雅,没有出版,也没有完整演奏过,所以直到盖雅逝世后才被整理出来。这首协奏曲的第一乐章,曾以《肖像》为名在1911年演过,后来巴托克根据这个乐章,加上作品6《14首短曲》里的最后一曲改编成管弦乐小品《两幅肖像》。
巴托克这首《小提琴协奏曲》被发掘出来后,1958年5月30日由施尼贝格(Hans-Heinz Schneeberger)首演,共两个乐章。盖雅曾对这首作品有这样的解读:“这并不是真正的协奏曲,而是小提琴和乐队的一种幻想曲”,“这是两幅肖像,前面是他爱慕的少女,后面是他所感叹的小提琴家。”

在没有发现巴托克送给盖雅的那首协奏曲之前,乐坛一直认为巴托克只有一首小提琴协奏曲。盖雅逝世后,那首协奏曲被发掘,成为第一号,这样,原认为“唯一”的协奏曲就变成了第二号。巴托克的这首第二号协奏曲作于1938年,委托巴托克创作这首作品的是匈牙利小提琴家梭尔丹·塞凯,这首作品1939年4月23日由门格贝尔格指挥阿姆斯特丹音乐厅管弦乐团首演,独奏是梭尔丹·塞凯本人。

原文: 林逸聪编撰《音乐圣经》华夏出版社

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
24 XII 1960
4. Bartók - Violin Concerto No. 1, Sz. 36, I Andante sostenuso
5. Bartók - Violin Concerto No. 1, Sz. 36, II Allegro giocoso

CD08

卡罗尔.希曼诺夫斯基 (Karol Szymanowski), 1882-1937
Violin Concerto No. 1, Op. 35

保罗·兴德米特 (Paul Hindemith), 1895-1963
Violin Concerto

1903年随诺斯科夫斯基学作曲,1905年赴柏林,受理查·斯特劳斯影响,与菲泰尔贝格、鲁伊茨基、谢卢托一起组成了波兰青年音乐协会。1920年回波兰,1926年起任华沙音乐学院院长。席曼诺夫斯基的作品受理查·斯特劳斯等德国乐派、德彪西等法国印象派及肖邦的三重影响,他的作品中最著名的是《小提琴协奏曲》。席曼诺夫斯基作有2首小提琴协奏曲:第一号,OP.35,作于1916年;第二号,OP.61,作于1933年。

原文:林逸聪编撰《音乐圣经》华夏出版社

Szymanowski and Hindemith could hardly be more contrasted, the former writing a meandering and highly perfumed fantasy for violin against orchestra with a luscious main theme and dense chromaticism, the latter writing a somewhat typically astringent piece that was never more beautifully realised than in Oistrakh's performances - something of a miracle of interpretation particularly in the central slow movement.

原文:Dr. David Doughty

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Kurt Sanderling
20 IX 1960
1. Szymanowski - Violin Concerto No. 1, Op. 35, I Movement 1
2. Szymanowski - Violin Concerto No. 1, Op. 35, II Movement 2

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
25 XII 1962
3. Hindemith - Violin Concerto, I Massig bewegte Halbe
4. Hindemith - Violin Concerto, II Langsam
5. Hindemith - Violin Concerto, III Lebhaft

CD09

《音诗》(Poeme Op.25) 是法国作曲家肖松(Ernest Chausson 1855~1899)的一首小提琴独奏与管弦乐伴奏的乐曲,但在演出时,往往是用钢琴伴奏来进行的。这首乐曲是小提琴独奏曲中的杰作,在肖松的所有作品中,它是被演奏得最多的一首。肖松的作品体裁广泛,以抒情丰富、充满热情为特色,尤其这首作品,可以说是把肖松所有的长处都发挥出来了。乐曲为神秘莫测的缓板。在缓慢而又神秘性的序奏之后,独奏小提琴以弱音奏出冥想性典雅的第一主题。管弦乐将它反复之后,独奏小提琴接着展开花奏,之后乐曲转变为 “生气蓬勃地”。独奏小提琴以全部合奏为背景,用最强奏奏出热情而强烈的第二主题。乐曲的第三主题为全曲的华彩部分,主奏小提琴的深情旋律将乐曲引向高潮段落。接下来是稍缓板,出现开头序奏部的材料,以管弦乐再度奏出第一主题,然后由独奏小提琴来承接。小提琴在D大调上以稍慢的速度唱出第一主题,回到原来速度。 乐曲由此进入终结部,最后以最弱奏结束全曲。(以上文字内容分别摘自第一古典和美丽元素,有较大修改)

《茨冈狂想曲》(Tzigane) 是法国作曲家拉威尔(Maurice Ravel, 1875-1937)第三期的创作,发挥了印象派的风格,一心想表现自己本来的个性,略有倾向于古典派之势。一九二四年完成的这首曲子,始终保持了简洁的样式,明白地呈现给人们拉威尔第三期作品的样相。以匈牙利民俗音乐为素材的这首曲子,是献给匈牙利出身的小提琴大师约阿西姆·约瑟夫(Joseph Joachim , 1831~1907)的孙女伊利亚?达兰妮。此曲于一九二四年四月在伦敦的拉威尔音乐节初演。它吸取了匈牙利的民俗舞曲(Czardas)的风格,由慢拍的拉散(Lassan)及快板的富力斯卡(Friska)的两部分构成。曲中有许多小提琴高难度技巧的演奏,成为一首很热闹的独奏曲,在结构及演奏技巧的变化上造成了非常优异的效果。这首曲子由含有忧愁的花奏风格的“徐缓拉散”乐段,及次第激烈快速的富力斯卡乐段的两部分构成。

原文:http://lib.VeryCD.com/2005/09/07/0000064199.html

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Kyrill Kondrashin
I I 1947
1. Gluzanov - Violin Concerto in A minor, Op. 82, Moderato - Andante - Allegro

15 III 1948
2. Chausson - Poeme, for violin and orchestra, Op. 25

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gennady Rozhdestvensky
24 XII 1960
3. Ravel - Tzigane, rapsodie de concert for violin and orchestra, Op. 76

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Gabril Yudin
25 II 1950
4. Gluaznov - Mazurka-Oberek in D Major for violin and orchestra

CD10

伊戈尔·斯特拉文斯基 (Igor Stravinsky), 1882-1971
Violin Concerto in D major

这首乐曲是为小提琴家杜什金所作,作为斯特拉文斯基唯一的一部小提琴协奏曲,这部作品仍然在同类体裁中占据的重要地位。该曲也是作曲家第二创作期的作品。这部作品十分有趣,风格独特,虽然有着明显的巴罗克风,但是斯特拉文斯基特有的幽默、现代感以及新奇的和声,永远令人惊叹的音调仍然充斥其中,使这首曲子听上去古典而现代,兴趣盎然。全曲有四个乐章——托卡塔、第一咏叹凋、第二咏叹凋、随想曲。从结构上看,很容易让人想起巴赫,斯特拉文斯基确实非常喜欢巴赫为两把小提琴写的《协奏曲》,并且,在末乐章中,乐队与独奏小提琴的二重奏可以看得出来。在这首小提琴协奏曲中,斯特拉文斯基并没有可以展现小提琴高超的技术技法,而是着重于小提琴同乐队的各种配合。这首乐曲,听上去虽然没有华丽的炫技,也没有大型乐队的手法,但是却在简单的音乐中显露出作曲家冼的手法,乾净清晰的音乐中,自有一番独特的品位

原文:
http://lib.VeryCD.com/2006/03/29/0000096415.html

巴托克·米亚斯科夫斯基 (Nikolai Myaskovsky), 1881-1950
Violin Concerto No. 1, Sz. 36

生于新格奥尔吉耶夫斯克(Novogeorgiyevsk)一位军事工程师家庭。8岁起学习钢琴。1893-1902年,先后在下诺夫哥罗德(高尔基市)陆军学校、圣彼得堡军官学校和圣彼得堡军事工程学校学习。1903年曾至莫斯科,随格利尔(Glier)学习和声。1903-1907年在圣彼得堡担任军官。1906年进入圣彼得堡音乐学院,随里姆斯基-柯萨科夫和利亚多夫学习作曲。在这里结识了作曲家阿萨菲耶夫和普罗科菲耶夫,成为毕生好友。1911年毕业后任音乐评论员。一次大战(1914-1918)期间任工兵军官。1917年起在苏军彼得格勒海军参谋部供职。1921年退役,被任命为人民教育委员会音乐部副部长,同年起担任莫斯科音乐院作曲教授,直至去世,在此他培养出不少优秀的作曲家,包括卡巴列夫斯基、哈恰图良等。1950年8月8日逝世于莫斯科。

米亚斯科夫斯基1901年开始作曲,1908年他的作品首次同听众见面,1910年开始出版。一生创作了27部交响曲、13部乐队作品、13首弦乐四重奏曲、近百首钢琴曲、120余首浪漫曲,还创作了一些声乐作品。其早期作品有着较为沉重的悲剧气氛;十月革命后则逐步明朗,多反映苏联现实生活,如《第十二交响曲》(1931)以苏联农村社会主义改造为题材,《第十六交响曲》(1936)刻划苏联空军英雄形象等。

米亚斯科夫斯基获得过不少荣誉:1927年获苏联政府授予的苏维埃联邦社会主义共和国功勋艺术家称号,1940年获苏联艺术学博士学位,1947年获苏联人民艺术家称号。他的作品还先后五次获得斯大林奖金。

原文:http://www.cnlxx.com/yiya/Article_Show.asp?ArticleID=1422

Miaskovsky's D minor concerto is together with his cello concerto one of the composer's most attractive works. It was premiered by Oistrakh in January 1939 and consists of an opening lengthy brooding Allegro which the composer claimed was written in 3 months whereas the following Tchaikovskian slow movement took only two days and the folksy elements which pervade an otherwise serious finale took a mere four days to set down.

原文:Dr. David Doughty

Moscow Philharmonic Orchestra of USSR with David Oistrakh
Conducted by Kyrill Kondrashin
8 II 1963
1. Stravinsky - Violin Concerto in D major, I Toccata
2. Stravinsky - Violin Concerto in D major, II Aria I
3. Stravinsky - Violin Concerto in D major, III Aria II
4. Stravinsky - Violin Concerto in D major, IV Capriccio

State Symphony Orchestra of USSR with David Oistrakh
Conducted by Alexander Gauk
1 I 1939
5. Miaskovsky - Violin Concerto in D minor, Op. 44, I Allegro
6. Miaskovsky - Violin Concerto in D minor, Op. 44, II Adagio molto cantabile
7. Miaskovsky - Violin Concerto in D minor, Op. 44, III Allegro molto



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