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肖邦 -《夜曲全集,丹尼尔·巴伦勃依姆演奏》(CHOPIN: NOCTURNES - COMPLETE RECORDING)DG公司,2CD[MP3!]

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  • 摘要:
    发行时间1982年
  • 时间: 2005/01/09 01:36:20 发布 | 2005/01/09 01:36:20 更新
  • 分类: 音乐  古典音乐 

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专辑英文名CHOPIN: NOCTURNES - COMPLETE RECORDING
专辑中文名夜曲全集,丹尼尔·巴伦勃依姆演奏
艺术家肖邦
资源格式MP3
版本DG公司,2CD
发行时间1982年
简介

IPB Image
http://images.amazon.com/images/P/B000007ODX.01.LZZZZZZZ.jpg

肖邦:夜曲全集
Chopin: The Nocturnes

  夜曲的语源系从拉丁语NOX演变,在罗马时代,有“夜神”之意。夜曲形式的创始人,一般认为是克莱门蒂(Clementi,1752—1832)的学生、英国人约翰·菲尔德(Field,1782—1837),其夜曲名称,可能取自天主教会的“夜祷”。费尔德一生作有21首夜曲,肖邦也作有21首夜曲,其中明显可见菲尔德的影响。但正如哈聂卡所说:“ 肖邦拓展和提高了费尔德形式,溶进戏剧气息,热情,使之更庄丽。菲尔德的夜曲是朴素的牧歌形态,肖邦所努力的不是单纯的,而是经过装饰,过于阴郁,具有东方气息。这不是经过温室飘溢出音乐学校的异国情调,也没有非诗性的爱尔兰人所栽培的野花的新鲜气味。”

肖邦的夜曲:

1.OP.9.1,OP.9是肖邦最早出版的夜曲,出版于1833年,作于1832年,献给玛丽·普勒耶夫人,模仿自费尔德。这首第一号,降B小调,甚缓板,3段体,中段由八度音奏出降D大调。尼尔斯评介:“充满了梦中饱满的甜蜜欢乐,那是把黄昏,夜的寂静,以及这产生的一切都淋漓尽致地表现出来。”
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2.降E大调,OP.9.2,作于1830—1831年,回旋曲式,行板在左手伴奏下,右手在装饰音中始终保持华彩咏唱。哈聂卡认为,此曲应以“纯粹的触键。”
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3.B大调,OP.9.3,作于1830—1831年,稍快板,3段体。第一段优雅而带几分媚态;第二段转为B小调,激烈的戏剧性情绪,有进行曲风格旋律;第三段再现第一段后有优美的尾声。尼克斯评介,“典型的沙龙音乐,没有爱怜,在情绪上却充满馨香。”
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4.F大调,OP.15.1,OP.15.1的3首作于1830—1831年,出版于1832年,呈献给费迪南·希勒。这首第四号,如歌的行板,3段体。第一段为清朗、典雅的行板,16分音符三连音构成的装饰非常醒目,中段进入有魄力、近似暴风雨的激情部分。
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5.升F大调,OP.15.2, 甚缓板,3段体。第一段装饰成如歌的华彩,其中孕含丰富的情绪。中段加倍速度,其中五连音音型以半音量的柔声开始,很具特色。这是非常美的一首,尼克斯评介:“外界的温暖及光渗透到心里,装饰的华彩音像蜘蛛丝似地飘然在我们周围舞蹈。第一段为甜蜜的回忆,中段为不安的情绪,但太阳并不失去其温暖,反而稳住了沉着的情绪,像是夏日遥远的天空那一道彩雾慢慢地消失。”
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6.G小调,OP.15.3,肖邦在此曲草稿上注明:“在《哈姆莱特》上演之后”。缓板,二段体,第一主题有痛心疾首意味,似乎呻吟,悲叹中的反抗发展到顶点才平静下来,优美的转调后出现幽静的钟声及安慰与希望的第二主题。
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7.升C小调,OP.27.1、OP.27两首作于1835年,出版于1836年,呈献给达波尼伯爵夫人。这首第七号甚缓板,3段体。第一段以柔声奏出暗淡的旋律,经种种转调后,情绪越来越不安;中段速度转快,出现悲痛的第二主题,它化解为明朗后再复归第一主题。这是肖邦夜曲中结构最大的一首。哈聂卡认为中段有贝多芬的风格,库勒普斯基认为,肖邦此曲的“诗情穿上了厚重的魔术外衣。”
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8.降D大调,OP.27.2,优美而平衡回旋曲式,持续的缓板,两个主题经过3次装饰,转变为新的形态而反复。尼克斯评介:“洗练,完整的结构,在优美的感情中含有流畅的忧郁,它扩散开来,其甜美令人失去元气,因其中散发着‘毒素’之故。我们不可吞饮这三度及六度音,如吞饮了,必须以巴赫、贝多芬的解毒剂才能化之。”
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9.B大调,OP.32.1,OP.32两首作于1836—1837年,出版于1837年,呈献给德·毕林男爵夫人。这首第九号自始至终为行板。库勒普斯基解说:“此曲如莫扎特的咏叹调一样简朴”。而哈聂卡认为,此曲尾声“像是敲击着悲剧的大鼓,像是暴风雨般的宣叙调尾声,与梦幻般的开头部分形成强烈对比。”
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10.降A大调,OP.32.2,缓板,3段体,第二主题出现时,变气氛为暴风雨似的热情;第一主题再现时,受这种热情影响而出现摆动的情绪。
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11.G小调,OP.37.1,OP.37的两首作于1838年,出版于1840年,此曲作于肖邦与乔治·桑一起在马尧卡岛回国之后,库勒普斯基称此曲为《乡愁》。始终行板,具降E大调圣咏合唱中段的3段体。
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12.G大调,OP.37.2,小行板,此曲来自航海途中灵感,低音部不断起伏的伴奏中出现重音,表示船的进行,其间以丰富的和声表现水上的粼光,接着出现舵手之歌,按乔治·桑说法是肖邦自己梦幻中的自言自语。歌声消失,船像是在夜海中飘浮,再传来低声吟唱,摇动的曲趣反复,船渐渐在远处消失,黑暗的水中隐约的舵手之歌。
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13.C小调,OP.48.1,OP.48两首是肖邦成熟期的作品。尤其这第一首是所有夜曲中结构最大的一首。OP.48的两首作于1841年,出版于1842年,呈献给罗拉·德尤贝尔小姐,缓板,3段体。哈聂卡解说:“这是最高贵的夜曲,构思巨大,有短音乐剧的感觉,在双倍速度处,加强了戏剧性效果。此曲具英雄性,脱离了感伤,让我们看到伟大、男性的肖邦。”
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14.升F小调,OP.48.2,小行板,3段体,中段为狂想曲。序奏和最初的主题有挽歌的情绪,尼克斯说:“有令人不禁落泪的甜美。”开头主题反复两次后转为甚慢板。肖邦学生回忆,肖邦要求他弹中段时右手要用宣叙调表现,而且“最初两个和弦要如暴君的命令一般,其余部分以怜悯的感情演奏。”
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15.F小调,OP.55.1,作于1840年,出版于1844年,呈献珍妮·史达林克小姐。此曲为行板,3段体,库勒普斯基评说,此曲“悲伤逐渐堆积,成为失望的呼喊,而后又因希望而转为温暖。”库拉克认为:“让人想起一位离开自己所爱家庭、所爱的人们,寂寞悲伤地在旅途的流浪者。”中段为进行曲风格,好像说往前走需更大的勇气和热情。尾声是感恩:“啊,神啊,终于到达了目的地。”
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16.降E大调,OP.55.2,即兴风格,3段体,全曲又可分为速度为持续的缓板与船歌两部。
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17.B大调,OP.62.1,OP.62的两首是肖邦一生最后作品,作于1849年,出版于1846年,呈献给肯迪利兹小姐,行板,3段体。哈聂卡解说:“这是在月光下飘散着花香的夜曲,带着疾病的、丰富的花香,那依着栅栏上升的音符突然转回主音,具非常的魅力。主旋律非常华丽,雄浑的和声,降A大调处踌躇之定,有很大的魅惑力。”
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18.E大调,OP.62.2,缓板,3段体,其中有敌对式的激烈对话,和声极为丰富。
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19.E小调,OP.72,作于1827年,1855年出版,实际是肖邦17岁时的作品,行板,简单朴素的形式。
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20.升C小调,约作于1830年。
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21.C小调,约作于1837年。



其他的一些版本:
http://note.ssreader.com/note/199375/1-0.jpg http://note.ssreader.com/note/199375/1-1.jpg
http://note.ssreader.com/note/199375/1-2.jpg http://note.ssreader.com/note/199375/1-13.jpg http://note.ssreader.com/note/199375/1-14.jpg
http://note.ssreader.com/note/199375/1-3.jpg http://note.ssreader.com/note/199375/1-4.jpg
http://note.ssreader.com/note/199375/1-5.jpg http://note.ssreader.com/note/199375/1-6.jpg
http://note.ssreader.com/note/199375/1-7.jpg http://note.ssreader.com/note/199375/1-9.jpg
http://note.ssreader.com/note/199375/1-10.jpg http://note.ssreader.com/note/199375/1-11.jpg
http://note.ssreader.com/note/199375/1-12.jpg


以上资料出处:http://note.ssreader.com/show_topic.asp?Topicid=199375&forumid=1


专辑内文:
原文
CHOPIN: NOCTURNES
One of the idiosyncrasies of music history is the number of composers who flowered far from their native soil. In Chopin’s case the phenomenon rebounds somewhat: though born in Poland, he was the son of a Frenchman who had emigrated there in 1787; and though Paris became his home from the age of 21, this had not been specifically planned when he left his native land to seek his musical fortune in Western Europe. In Paris he became friendly with Berlioz, Liszt, Mendelssohn, Alkan and a host of other composers and virtuosi better celebrated in their own time than by posterity; also with writers and painters, notably Delacroix; and, through visits to Germany, with Schumann. Such influences might be expected to have had an enormous effect on a composer only in his twenties. Yet, though most of Chopin’s output was composed after his arrival in Paris, the music he had produced in the two or three years before that ---- including both his Piano Concertos, most of his first book of Studies(op.10), and sever of his 21 Nocturnes (nos. 1-5 and 19-21) ----already shows a fully mastered musical language and pianistic technique, both of which kept their essential character for the rest of his life. The only obvious changes in his style thereafter are a constant refinement of construction and a sophistication of techniques like counterpoint: Bach’s scores were never far from his side.
As a pianistic genre the Nocturne, a “night-piece’, was the invention of John Field, an Irishman whose career in the early 19th century eventually transplanted him to Eastern Europe, geographically almost the reverse of Chopin’s move. Field’s Nocturnes, published under that title between 1812 and 1836, were based on a format of singing melody, much ornamented, over accompanying bass patterns to fill in the harmony ---- obviously Chopin’s departure point. Although Chopin did not meet Field until 1832, he had probably heard, or heard of ,his Nocturnes during childhood years in Warsaw. Chopin himself published eighteen during his life, in sets of either two or three; his three remaining Nocturnes, from between 1827 and 1837, were discovered and published over the next century, but are quite worthy of their place in the canon.
Chopin’s exact significance in music history is still oddly hard to define, partly because his output adheres so largely to the piano, and partly because his music, for all its expressive clarity, stubbornly resists being tucked tidily into analytical compartments. It relies rather on a marvelous capacity for variation and improvisation, usually with one or more of the standard formal types ---- aspects of ternary form (the basis for the Nocturnes) or sonata form, for example ---- fused together as required for the dramatic make-up of each piece, and no two pieces ever using quite the same combination. Similarly, reprises of earlier passages later in a piece not only have their melodies ornamented and varied, but also can move off on quite a different harmonic course, or with the accompaniment transformed, allowing the symmetry of ternary form to be offset by a more forward-moving dramatic shape.
Beyond this, the Nocturnes also illustrate Chopin’s love of dissolving the apparent barriers between different genres. Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music’s sense of inhabiting those fugitive realms between sleep and wakefulness. One of the most haunting examples is op. 15 no. 3, with its glimpses of mazurka, followed by a solemn chorale section that suddenly curtails the piece without the expected return to the opening material ---- evidently a late inspiration, since an early manuscript fragment of the piece assumes the conventional da capo return. (The other side of the same manuscript contains the Study op. 10 no. 9, suggesting that this Nocturne was at least partly composed well before the date of 1833 usually ascribed to it. ) Chopin is said to have associated the piece with Hamlet ---- one of many literary images prompted by his music.
In those senses the Nocturnes, for all their intimacy, are built up of essentially the same type of material as Chopin’s Balades or other large works, and often contain just as dramatic contrasts and conflicts. In the later Nocturnes the contrasts themselves become subtler, the shifting of the ground under our feet often the more disquieting the less noise it makes in the process. Extremes of dynamics tend to be reserved for the most rugged pieces, such as op. 48 no. 1---- the title ‘Nocturne’ is pushed rather beyond reasonable limits here ---- a heronic marche funèbre which gradually unleashes an extraordinary tumult of passion that must have startled even Chopin’s excentric contemporary Alkan. In other cases a moment of drama can surprise us almost before we have had time to notice it start ---- for example, the sinister minor-key ending of op. 32 no. 1, which has evoked images of heroic tragedy from many commentators. Doubtless Chopin was wise to keep any such programmes unexplained; the music tells its story in tis own terms ---- in Debussy’s phrase, as ‘conversations between the piano and oneself’. ------ Roy Howat

译文(感谢网友bobo的翻译)
肖邦:夜曲
音乐历史的特质之一就是那些在远离本土也能够盛名远播的作曲家的数量。在肖邦的例子中,这点可见一斑:他生于波兰,是一个1787年移民入境的法国人的儿子;从21岁起,巴黎成为了他的家,然而这一切在他离开祖国到西欧去寻求他的音乐梦想时并非是刻意安排的。在巴黎,他成为了柏辽兹,李斯特,门德尔松,以及众多在那个时代远比在以后更负盛名的作曲家们的朋友。而且,在和SCHUMANN一起参观德国时,还结交了众多作家和画家,特别是DELACROIX。可以想象这一切对于一个20多岁的作曲家来说会有怎样显著的影响。然而,尽管肖邦的大多数作品都是在他到达巴黎以后完成的,但是那些两三年前创作的——包括钢琴协奏曲,21夜曲——已经显示出了他非常成熟的音乐表现风格和钢琴演奏技巧,这些成为了他以后艺术生活最重要的特征。在那之后最为显著的改变就是结构的精致和技巧的精湛,做个比较吧,巴赫的成就也不高于他。

作为一种钢琴流派的夜曲,“night-piece”是由JOHN FIELD发明的。JOHN FIELD是爱尔兰人,于19世纪早期移民到了东欧,从地理角度来说,他的路线刚好和肖邦相反。JOHN FIELD于1812和1839发表的作品都是基于演唱旋律的模式,华丽而并非用低音模式来使旋律协调——这显然就是肖邦的起点。尽管1832年以前肖邦和JOHN FIELD从未谋面,但他幼年在华沙可能就听说过JOHN FIELD,或者是听说过JOHN FIELD的作品。在肖邦的一生中,曾经亲自发表了18部作品,1827年到1837年间保存的三部夜曲,在下个世纪才被发现并发表。但是,它们在肖邦作品中的地位却是勿庸置疑的。

肖邦在音乐史上的准确意义至今仍然很难定位,部分的原因是他的作品很大程度上都依赖于钢琴,还有就是因为他的作品都清晰的表现出对那种可以被精准的划分为各个部分的一种倔强的抵制。它们更加依赖于非凡的变化和即兴的表演,为了使每一篇章更为生动,通常会把标准的正式类型的一种或者多种­——例如使用三元形式(夜曲的基础)或者是奏鸣曲的形式——混合在一起,而且没有哪两个部分会使用相同的混合。同样的,在一个篇章后部对较早段落的重复不仅具有各自不同的加以修饰和改变的旋律,而且还使用不同的合音方式及伴奏配乐。这样一来,就用一种前移的生动形态弥补了三元形式对称的不足。

除此之外,夜曲还表现出了肖邦对融合不同流派外观上差异的特殊兴趣。正如华尔兹,玛祖卡舞曲,或者威尼斯的船歌都是除了叙事曲,谐谑曲或者波洛涅兹舞之外易于舞蹈的流派,夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲,NO.20——这样意想不到的并置,就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击,它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。最为典型的例子是OP.15NO.3,在它中间有着玛祖卡舞曲的惊鸿一瞥,之后是肃穆的赞美诗部分,这一部分突然缩减了这一篇章,而不是象预期的那样回到开始之处,而早期的手稿中这里是采用了传统的DA CAPO返回(这篇手稿的另一面还写有OP.10NO.9,这表明这部夜曲至少有一部分是在1833年以前创作的)据说肖邦把这个乐章和哈姆雷特——在他的音乐中提及的众多文学映像之一——联系在了一起。

这些夜曲构筑了作为肖邦叙事曲和其他大型作品的最基本素材,这其中常常包含着显著的对比与冲突。后来,夜曲之间的对比变得微妙起来,韵脚背景的转换常常越是令人不安,过程中产生的噪音就越是不明显。动态的极端似乎倾向与为那些崎岖不平的篇章所保留,例如OP.48NO.1——这里的名称“夜曲”已经被推至前端的极限——heronic marche funèbre逐渐释放出激情的喧哗,这在与肖邦同时代的ALKAN身上也是令人震惊的。在另外的例子当中,戏剧性的时刻总能在我们意识到它开始之前就令我们惊讶不已了,——例如,IP32NO.1的小调结尾从众多的评论者那里获得了英雄主义悲剧的印象。勿庸置疑的,肖邦在保留诸如此类令人惊诧的安排上是非常明智的;音乐用自己的术语讲述了它的故事——在德彪西风格的表述中,这被誉为“钢琴与演奏者自身的交流”。


(本专辑已加入MP3共享计划)

压缩软件:EAC+LAME
采 样 率:VBR224Kbps



专辑曲目

01 op.9 no.1 in B flat minor, Larghetto
02 op.9 no.2 in E flat major, Andante
03 op.9 no.3 in B major, Allgretto
04 op.15 no.1 in F major, Andante Cantabile
05 op.15 no.2 in F sharp major, Larghetto
06 op.15 no.3 in G minor, Lento
07 op.27 no.1 in C sharp minor, Larghetto
08 op.27 no.2 in D flat major, Lento sostenuto
09 op.32 no.1 in B major, Andante sostenudo
10 op.32 no.2 in A flat major, Lento
11 op.37 no.1 in G minor, Andante sostenuto
12 op.37 no.2 in G major, Andantino
13 op.48 no.1 in C minor, Lento
14 op.48 no.2 in F-sharp, Andantino
15 op.55 no.1 in F minor, Andante
16 op.55 no.2 in E-flat major, Lento sostenuto
17 op.62 on.1 in B major, Andante
18 op.62 on.2 in E major, Andante
19 op.post.72 on.1 in E minor, Andante
20 op.post. in C-sharp minor, Lento con gran espressione
21 op.post. in C minor

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