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Simon Rattle, City of Birmingham Symphony Orchestra -《斯特拉文斯基:众神领袖阿波罗、春之祭》(Stravinsky: Apollo & The Rite Of Spring)[APE]

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  • 摘要:
    古典类型交响曲
    发行时间1990年04月10日
  • 时间: 2010/11/02 19:19:13 发布 | 2010/11/03 08:41:46 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Stravinsky: Apollo & The Rite Of Spring
专辑中文名斯特拉文斯基:众神领袖阿波罗、春之祭
古典类型交响曲
资源格式APE
发行时间1990年04月10日
地区英国
语言英语
简介

IPB Image

作曲:lgor Feodro-ovich Stravinsky
指挥:Sir Simon Rattle
乐队:City of Birmingham Symphony Orchestra
厂牌:EMI
录音:DDD Stereo

专辑介绍:

西蒙·拉特尔或许是有《春之祭》情结的,他第一次登台是在1970年(15岁)指挥皇家利物浦爱乐乐团《春之祭》,在就任柏林爱乐艺术总监和首席指挥后推动了一个计划,和柏林的学校500名学生合作,柏林爱乐伴奏,在特雷托的体育场里上演斯特拉文斯基的《春之祭》。后者由汤玛斯·格鲁贝和兰师将它拍摄为电影“这就是旋律”(Rhythm Is It),并获得了巴伐利亚电影奖和德国电影奖。此后在美国巡演时也在卡内基推行了相似的计划(The Rite of Spring Project)。09年的一部电影《香奈儿与斯特拉文斯基的秘密故事》(Chanel Coco & Igor Stravinsky) 中演出春之祭也是采用的西蒙·拉特尔与柏林爱乐的版本。

《春之祭》和《众神领袖阿波罗》皆是斯特拉文斯基的芭蕾舞剧。《春之祭》描写了俄罗斯原始部族庆祝春天的祭礼,既有鲜明的俄罗斯风格,也有强烈的原始表现主义色彩。其粗旷原始而野蛮,颠覆传统的节奏、和声在首演即引起骚动,评论不一。但是现在,这部作品作为现代派经典之作,被英国古典音乐杂志《Classical CD Magazine》评选为对西方音乐历史影响最大的50部作品之首。

第一部分:“对大地的崇拜”。序奏以大管吹出一首民歌,悠远、古老而神秘。表现春回大地、万物复苏之景。“少年之舞蹈”弦乐在低音区短促而猛烈地顿响,表现生命之搏动。“抢婚游戏”展示出人类的原始本能,野蛮而热情。“春天的轮舞”采用俄国民间风俗性的艺术形式,在单簧管的“引领”后,乐队奏出沉重的轮舞曲。“部落争戏”——“智者之列”——“大地之舞”把两个调性不协和的粗犷而古朴的铜管乐旋律合在一起,象征严酷的统治力量。一个极弱的泛音和弦象征着智者对大地的亲吻,开始了大地之舞。乐曲的第二部分叫“祭献”。“序奏”是一首“夜曲”,既有印象派的朦胧色彩,又有斯氏冷峻的管弦乐音响,烘托出黑夜的气氛。“少女神秘的舞蹈”以六个声部的中提琴奏出主题后,单簧管又奏出另一个不安的主题。“对当选少女的赞美之舞”,音乐以短小的节奏音型重复、变化、拼接出原始部落人的僵直的舞蹈形态。“祖先的召唤”是个短小的舞蹈段落,前一段平静单调,“祭祖仪式”开始,英国管和长笛在乐队其它乐器奏出的强烈节奏上对话,直至法国号吹出壮丽的主题。“少女的祭献舞”是整部作品的高潮,音乐随少女的舞姿越发狂暴和猛烈,直至她倒地死去,人们在热烈和兴奋之中把少女的身体置于神坛下。这个段落也是第二部分最有趣的,斯特拉文斯基打破了传统观念,以节奏为主导,音乐一开始便是频繁的节奏转换,把旋律、和声都一一卷入了节奏的漩涡。

《众神领袖阿波罗》创作于1927到1928年间,也是部两幕芭蕾舞剧,由芭蕾舞大师乔治·巴兰契编舞。这是现存最老的由乔治·巴兰契编舞的舞剧,由此他获得巨大成功。

这部舞剧取材于希腊神话,主角是赋予诗神以不同艺术的众神领袖阿波罗,脚本由斯特拉文斯基自己作成,他从9位诗神中选3位代表舞蹈艺术的女神卡利俄珀 (Calliope)、普利姆涅(Plymnie)、忒耳西科瑞(Terpsichore)。全剧据他自己说明:“从阿波罗那里得到笔及紧身衣的卡利俄珀象征诗和节奏,手指放在嘴唇上的普利姆涅象征体态舞姿,忒耳西科瑞则代表诗的节奏与动作的雄辩,为世界开创了舞蹈,诗神们占领了围绕阿波罗的名誉之处。” 此曲作于1927-1928年,1928年4月27日首演,第一场包括序:阿波罗的诞生,最缓板奏象征阿波罗诞生前的黑暗主题,变为快板后描述阿波罗的诞生。第二场包括:1.阿波罗之舞。2.剧情舞,阿波罗与3位女诗神的舞蹈,中板。3.卡利俄珀之舞,小快板。4.普利姆涅之舞,快板。5.忒耳西科瑞之舞,小快板。6.阿波罗之舞。7.阿波罗与忒耳西科瑞双人舞,慢板。8.结尾,阿波罗与诗神们之舞。9.神化,表现对阿波罗的祭祀。

对于这张唱片,留声机杂志有大段评论,一并转来。(原文请点击这里

Stravinsky said jokingly that the opening bassoon solo in The Rite of Spring ought to be transposed up a semitone every few years, so that it would never sound easy just because bassoonists had got used to it. He was hinting at a real problem: in a world in which The Rite now counts as a repertory work, in which every orchestra worth calling an orchestra can play it, how can we regain the appalling, raw impact of its explosion on the musical world, at least part of which must have been due to its unprecedented difficulty? Not, for sure, by playing it faster, louder and with greater mechanical precision than ever before: the limit has been reached; some passages can now be played at such a speed that all-important details of accent and articulation are obscured in the rush. We are in danger of the work turning into a mere display piece for the virtuosity of orchestras and the vanity of conductors.

Simon Rattle takes the culminating "Sacrificial Dance" noticeably slower than most; I cannot be sure how close to or remote from the metronome mark he is (only a metronome with a degree in higher mathematics could be sure, with the timesignature changing every bar) but he is certainly a deal slower at this point than Stravinsky himself in his 1960 CBS recording. The effect is not lethargic, nor does it suggest that the CBSO can play it no faster, but it is shocking. More than in any recent performance that I can remember it really does suggest a sacrificial victim dancing herself to death, at the point of utmost exhaustion being brutally rallied, and then a sense that rhythm itself takes over the dancer's body, unconscious now but still spasmodically twitching, and yet still possessing (those descending horn figures in the second part of the dance) a tortured grace. It is strangely moving, and quite characteristic of Rattle's approach which, although extremely precise as to note-values and balance (immaculately clear textures; complex chords that you could virtually take down as from dictation) is more concerned with spirit than letter. You might find that the "Glorification of the Chosen Victim", say, lacks a bit of excitement at his tempo, but the excitement of this scene is massively savage, the excitement of a crowd anticipating blood, and Rattle makes sure you know it. He is as good at the other end of the spectrum, where for example the 25 seconds or so of the "Adoration of the Earth" are marked off by the long, awestruck silence that Stravinsky asks for, and conclude with a magically glistening string chord; the tiny pool of stillness sounds like the work's epicentre.

There is no question at this stage of choosing a 'best available' Rite of Spring; I cannot say that Rattle's is 'better' than the composer's own astonishingly precise yet ferociously powerful account, or than Mackerras's outstanding version for EMI Eminence (in matters like the clarity of texture amid sustained uproar as the "Procession of the Sage" arrives on stage, or the superbly controlled crescendo of the "Dance of the Earth," Mackerras is arguably `better' than Rattle), but Rattle's is a reading that startles you again and again with the audacious rightness of Stravinsky's instinct (he knew how it sounded, he said, before he knew how to write it down).
Frabeck de Burgos's reading is extremely brilliant, extremely beautiful, sometimes a touch more deftly played than Rattle's (Friihbeck's tempos are often faster, seldom exaggeratedly so; they are the 'conventional' tempos, you might say); its recording is a bit less spacious, a shade more metallic. It is a fine performance, but not as urgently impact-renewing as Rattle's, Mackerras's or Stravinsky's own. Couplings, however, alter cases, and it would be a pity if Friihbeck's Petrushka were to be ignored because his Rite of Spring is very good rather than exceptional. Together with the rhythmic and harmonic innovations of Petrushka, Stravinsky invented a very specific orchestra for it: the double-basses are silent for about 900 of its 1,300 or so bars and very sparingly used elsewhere, giving a bass-less quality to some pages and disconcerting prominence on others to the bass clarinet, bassoons and cellos, the latter often divided. The rather unstable brilliance that results (in this performance one understands why Stravinsky described the score as a "criticism" of the nineteenth-century Russian nationalists) is admirably distilled by Friihbeck in a reading of vivid drama and pungent characterization.

Rattle's coupling, however, is no less desirable, an Apollo of clean grace, pure colour and scrupulous attention to dynamic markings. It has sinew as well, and a dancing line of a particular character that makes me suspect that Rattle has studied Balanchine's choreography of the work. I miss that quality very slightly in Lubbock's otherwise first-class reading for ASV (and to my ear— though not to others, as I have been furiously reminded more than once—it is wholly absent from Karajan's gross and unctuous DG version). Together with its splendid coupling, Rattle's Apollo is one of the most accomplished recordings he has made so far. M.E.O. (Gramophone)



专辑曲目

Apollo
Ballet en deux tableaux/Ballet in two scenes
01. Apollo - Ballet en deux tableaux (1947 revised version), Premier tableau (prologue): Naissance d'Apollon
02. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Variation d'Apollon (Apollon et les Muses)
03. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Pas d'action (Apollon et les trois Muses: Calliope, Polymnie, et Terpsichore)
04. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Variation de Calliope (l'Alexandrin)
05. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Variation de Polymnie
06. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Variation de Terpsichore
07. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Variation d'Apollon
08. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Pas de deux (Apollon et Terpsichore)
09. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Coda (Apollon et les Muses)
10. Apollo - Ballet en deux tableaux (1947 revised version), Deuxième tableaux: Apothéose

Le Sacre Du Printemps
The Rite of Spring
11. Le Sacre Du Printemps (1947 Revised Version), Part 1: L'Adoration De La Terre: Introduction - Les Augures Printaniers - Danse Des Adolescentes - Jeu De Rapt
12. Le Sacre Du Printemps (1947 Revised Version), Part 1: L'Adoration De La Terre: Rond Printanières - Jeux Des Cités Rivales - Cortège De Sage
13. Le Sacre Du Printemps (1947 Revised Version), Part 1: L'Adoration De La Terre: Le Sage - Danse De La Terre
14. Le Sacre Du Printemps (1947 Revised Version), Part 2: Le Sacrifice: Introduction
15. Le Sacre Du Printemps (1947 Revised Version), Part 2: Le Sacrifice: Cercles Mystérieux Des Adolescentes
16. Le Sacre Du Printemps (1947 Revised Version), Part 2: Le Sacrifice: Glorification De L'Élue - Évocation Des Ancêtres - Action Rituelle Des Aancêtres
17. Le Sacre Du Printemps (1947 Revised Version), Part 2: Le Sacrifice: Danse Sacrale (L'Élue)

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