Leopold Stokowski & Houston Symphony Orchestra -《斯克里亚宾：狂喜之诗等》(Scriabin: The Poem Of Ecstacy;Amirov: Kyurdi Ovshari)Everest 24Bit96kHz[FLAC]
Leopold Stokowski指挥Houston Symphony Orchestra版斯克里亚宾狂喜之诗和阿米洛夫的Kyurdi Ovshari，24Bit-96KHz
SCRIABIN. Le Poeme d'extase, Op. 54. Houston Symphony Orchestra conducted by Leopold Stokowski. Everest o SDBR3032 (12 in., 25s. 6d.).
This is an occasion when the critic says "thank heaven for the sleeve-note writer!" For there is no mention of Amirov in Grove nor am I exactly an authority on the mugam: so all due acknowledgement to Mr Paul Affelder and to Baker's Biographical Dictionary of Musicians which helped him out.
Fikret Dzhamil Amirov was born in 1922 in Kirovabad in the Russian state of Azerbaijan (down on the Caspian—Baku is its capital) and his music reflects the influence of Azerbaijan folk music and dances. Quite a list of large-scale works includes suites based on mugama, or national modes; scales and fixed melodic patterns. The people, we are told, have a culture that shows strong Turkish, Persian and Armenian influences, and that, indeed, is evident as one listens to Amirov's suite, in which local tunes are brightly dressed up for the symphony orchestra. I cannot at all judge him as a composer from this, but it is skilfully done, with clever orchestration—though the concerto-like entry of a piano some way on seems inappropriate to this very Eastern-sounding music.
This music is an agreeable change from the Western sounds we mostly live with and it gets a lively performance from Stokowski. He, I need hardly say, is very much at home in Scriabin's Poeme d'extase. He shapes and controls it finely, yet plays it for all it's worth.
The general sound quality is good but marred by one defect. Despite the somewhat extravagant claims made on the sleeve, there is considerable distortion. The Arnirov side is all right until the final section. The Scriabin is fine for all the soft passages but more or less all through I was worried by distortion, mostly on single notes of some instruments, especially the all-important trumpets. This makes it unacceptable to me, though the side may perhaps play more easily on other equipment. Anyway, you may think the reasonable price worth paying for something so unknown on the other side, most of which plays excellently. T.H.
录音技术的最高颠峰－Everest 35 釐米磁带录音，出色的两端延伸与超乎想像的动态范围，各种乐器音质音色活生灵动，重现如临现场感的真实感！
俄国作曲家史克里亚宾（Alexander Scriabin, 1872~1915）最早是以钢琴家的身份广为人知，后来他专注在管弦乐的作曲与神秘主义，发展出以四度音堆迭的「神祕和絃」，而成为二十世纪无调性音乐的先驱。
「狂喜之诗」便是他大量採用「神祕和絃」的一首作品，同时也是他以单乐章的型式呈现的第四号交响曲。Le poeme de l'extase 的原意是「高潮诗」，不过这首曲子并不只是描写感官的慾念，也不是宗教的狂喜，而是艺术创作的狂喜，曲中充满大胆的技巧与华丽的音色，在「管弦乐魔法师」史托科斯基的魔法棒下，化成一幕幕壮丽雄伟的音乐画面，带给听者出奇的狂喜体验。
「Amirov 的 Azerbaijan Mugam(Kyurdi Ovshari)」 是一首异国风味的管弦乐曲，史托科斯基在此曲中展现出令人惊嘆的控制力与华丽的音色变化。这张复刻片直接採用原始 Everest 的 35mm 釐米母带，由录音大师 Bernie Grundman 以全真空管设备以及专用的 Westrex 1551 录音机转录，音质效果真实动人，再现 Everest 录音的辉峰！
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1. Scriabin: The Poem of Ecstacy, Op.54
2. Amirov: Azerbaijan Mugam ("Kyurdi Ovshari")