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John Weicher, Fritz Reiner -《理查德·施特劳斯 - 查拉图斯特拉如是说 和 英雄的生涯》(Richard Strauss in Hight Fidelity - Strauss Also sprach Zarathustra)SACD-R

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  • 摘要:
    古典类型全集作品
    发行时间2004年11月14日
  • 时间: 2012/05/08 22:09:39 发布 | 2012/05/09 07:04:00 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Richard Strauss in Hight Fidelity - Strauss Also sprach Zarathustra
专辑中文名理查德·施特劳斯 - 查拉图斯特拉如是说 和 英雄的生涯
古典类型全集作品
版本SACD-R
发行时间2004年11月14日
地区美国
语言英语
简介

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专辑介绍:

“查拉图斯特拉如是说”的创意来源于哲学家尼采的同名着作,是描写无神论者从唯心走向唯物的一个富于哲理的过程。全曲共飞9段。第一段“日出”的标题是理查·施特劳斯自己加上的。虽然只有短短的1分30秒的音乐,却把一轮红日喷薄而出的情景刻画的极为深刻。由于这段音乐强大的气势和艺术表现力,常常被喜爱音响的朋友作为试机用的片段。其余8段的名称均来自尼采的原着,它们分别是“来世之人”、“渴望”、“欢乐与激情”、“挽歌”、“学术”、“康复”、“舞曲”和“梦游者之歌”。
《查拉图斯特拉如是说》是受哲学家尼采的同名散文启发而作。着名的“引子”部分表现“日出时人类感觉到上帝的能量”,一个起初由小号悠远地奏出的庄严题旨,一波波地被推向包括管风琴在内的乐队全奏的高潮,壮丽而神圣。此后经过了追求爱情的悲哀和追求科学的徒劳,这位“超人”终于摆脱了这类常人惯有的烦恼而进入到“舞蹈之歌”的欢乐佳境,而最后的“夜晚漫游者之歌”,以高音部的木管和小提琴奏出b大调和弦,而以低音提琴在c大调上拨奏,既象征着“超人”的灵魂上升而世界则在他下面沉沦,又是多调音乐的一个先例。

************************************************************************

交响诗 《英雄的生涯》 作品创作于1898年。它是理查·施特劳斯以单乐章形式所写的交响诗的最后一首。这部传记音乐作品并不是以哪个真人或神话人物为原型进行创作的,而是理查·施特劳斯描写和叙述了思想中的一个理想人物的生活。在《堂·吉诃德》中,主角把自己的力量徒劳地消耗在空虚的理想中,而《英雄的生涯》里的理想主义者则是另一种类型。他是一个高贵而又与众不同的人,但常受到别人毫无理由的反对,因幻想多次破灭而感到痛苦。然而爱情给了他力量,他终于获得了精神上的平衡。不少评论家认为,理查· 施特劳斯 所描写的英雄就是他自己。
  理查· 施特劳斯看得比较宽广,他不仅描写了同敌人进行斗争,而且描写了斗争的胜利,及胜利后的满足。 施特劳斯没有为这部作品写什么说明,他希望人们“只要能理解它是一个英雄在和敌人作斗争就足够了。”
  全曲共分六段:
  一,英雄;
  二,英雄的对手;
  三,英雄的爱情;
  四,英雄的战场;
  五,英雄的和平事迹;
  六,英雄从世上隐退。
  音乐一开始,英勇威武的英雄主题由圆号和弦乐在降E大调上奏出,描写了一个充满青春活力的青年及其朝气蓬勃的力量。随后,音乐从各个不同的侧面塑造了英雄的全貌,有的描写英雄的潜力和精力,有的描写英雄坚强的意志……, 最后,音乐在辉煌的铜管乐中结束。


弗里茨•莱纳 - 理查德•施特劳斯:查拉图斯特拉如是说更多内容

弗里茨•莱纳(Fritz Reiner)的《理查德•施特劳斯:查拉图斯特拉如是说》(Strauss: Also Sprach Zarathustra),2009年《企鹅古典唱片指南》推荐为四星带花。

理查德•施特劳斯交响诗《查拉图斯特拉如是说》,创作于1896年。当年初演于德国的法兰克福,是他最为著名的交响诗。这部作品是根据尼采的同名作品自由创作。

《查拉图斯特拉如是说》是尼采的里程碑式的作品,几乎包括了尼采的全部思想。


54年的首批立体声录音。。。但不是第一个,效果不错。 《查拉图斯特拉如是说》还是喜欢老卡飞扬跋扈的风格,尤其是73年的那个版本。像是黑洞一样,把你深深地吸进去。这个版本,日出部分就逊色了,那个管风琴的音高还低了……索性没有仔细听下去。 《英雄的生涯》很棒!......

Orchestra: Chicago Symphony Orchestra
Conductor: Fritz Reiner
Composer: Richard Strauss
Audio CD (September 14, 2004)
Number of Discs: 1
Format: Hybrid SACD - DSD
Label: RCA
ASIN: B0002TKFQI

Notes & Reviews
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Can these magnificent-sounding, scintillatingly executed 1954 benchmarks in the annals of recorded Strauss really be a half-century old? They haven't dated a bit, except for the jacket photo of Fritz Reiner posing with a cigarette in hand, plus an organ slightly out of tune with the orchestra in Also Sprach Zarathustra--as if anyone really cared, then or now. Because the original master tapes for these sessions were two-track stereo recordings (as opposed to three-tracks used for many sessions), this release does not take advantage of SACD surround-sound's full capabilities. However, in one important respect it sounds better than RCA's 1993 Living Stereo reissue: The latter's bright treble levels resulted in a piercing, sometimes strident edge to string tuttis and loud trumpets; the SACD's more judicious equalization allows Reiner's extraordinary aligning of Strauss' complex textural strands to emerge more naturally, with added richness (as opposed to mere volume) in the bass register. These sonic differences also manifest themselves when playing the SACD on a standard audio-CD changer. Even if you haven't yet invested in surround-sound equipment, buy the SACD if you want these performances. And how can you not want them? [10/25/2004]
--Jed Distler, ClassicsToday.com

引用
汉汉▼理查·施特劳斯
全名 Richard Georg Strauss
出生 1864年6月11日
慕尼黑
逝世 1949年9月8日
加尔米施-帕滕基兴
所属时期/乐派 浪漫主义,20世纪
擅长类型 交响诗,歌剧,艺术歌曲
代表作 交响诗《唐璜》《死与净化》《蒂尔恶作剧》《查拉图斯特拉如是说》《堂吉诃德》《英雄生涯》《阿尔卑斯山交响曲》《家庭交响曲》,歌剧《莎乐美》《埃莱克特拉》《玫瑰骑士》《阿里阿德涅在拿索斯岛》《阿拉贝拉》《没有影子的女人》《随想曲》,声乐套曲《最后四首歌》

理查·格奥尔格·施特劳斯(德语:Richard Georg Strauss,1864年6月11日-1949年9月8日),德国晚期浪漫主义作曲家、指挥家。他与以小约翰·施特劳斯为代表的维也纳施特劳斯家族没有关系,一般都以全名理查·施特劳斯称呼,以与该家族的众多成员相区分。

他的父亲是当时有名的圆号演奏家弗朗茨·施特劳斯(Franz Strauss),从小就受到父亲的音乐教导,八岁的时候开始学小提琴。他的父亲的教导非常注重“浪漫主义”,但理查德·施特劳斯本身的音乐最后成为了20世纪现代音乐的重要组成部分。

理查·施特劳斯的早期作品具有典型的浪漫主义的特点,在其创作生涯的极盛期被认识为晚期浪漫主义最重要的代表人物,晚期的作品流露出一定的现代派倾向,如调性的瓦解等等。理查德·施特劳斯的音乐创作和指挥偏好都表现出他对于德意志古典音乐传统的热爱和深刻理解,他深受莫扎特和瓦格纳的影响(后者几乎影响了理查德·施特劳斯那个时代所有的作曲)。理查德·施特劳斯具有极其卓越的对位写作才能,几乎所有作品的织体都非常复杂。

理查·施特劳斯在1933年曾担任纳粹德国的国家音乐局总监(事前未与他本人协商),后来因为在犹太籍音乐家与纳粹当局意见不合,于1935年辞职;战后受到审查,直到1948年才由政府正式澄清。事实上,他由于创作涉及同性恋话题的《埃莱克特拉》,与犹太作家茨威格合作《沉默的女人》,以及儿媳是犹太人等原因一直受到纳粹政府的监视。

他还是美国电影《飘》配乐作曲家马克斯·史坦纳的教父和老师。


引用
68 of 71 people found the following review helpful
A timely celebration of a "double" 50-year anniversary. November 15, 2004
By Bob Zeidler
A half century ago, I was a junior in high school. We used to have these gatherings called "assemblies," where the principal would collect the entire student body in the auditorium (no excuses allowed!) for an event of more than passing importance. At this late date, I can only remember a small handful of them: the coronation of Queen Elizabeth II, President Truman relieving General MacArthur of his command. Oh, and one where two fellows from Ampex came to our high school to give a little demonstration of something called "stereophonic sound," using, needless to say, an Ampex tape recorder.

And the music for this demonstration? It was the brief opening prologue ("Sunrise") from Richard Strauss's "Also Sprach Zarathustra," in this very same Reiner/Chicago Symphony Orchestra recording. This was a "sneak preview to end all sneak previews," inasmuch as the monophonic LP ("New Orthophonic," I believe it was called) hadn't even been released at that early date. And, needless to say, this impressionable teenager was suitably impressed. So much so that, in the years to come, I acquired three LPs of the performance: the original monophonic LP, then the Living Stereo LP a few years later, and eventually, when the stereo LP had seen its better days, the Dynagroove rerelease (something I'd just as soon forget). I never did go the reel-to-reel route, and, when CDs eventually made their appearance, I opted for other performances of these two Strauss works rather than the earlier conventional Living Stereo CD release. But I always did have fond memories of that particular reel-to-reel tape demonstration back in '54; it was a direct copy of the 30ips master tape, and not the 7.5ips "consumer" version that came out shortly thereafter.

With BMG now releasing half-century-old Living Stereo classics as hybrid SACDs (10 at present, with surely more on the way), it was easy for me to select this recording as one of the first to sample. I was more than pleasantly surprised; just listening to the "Also Sprach Zarathustra" prologue had the effect of turning the clock back 50 years; truly a trip down Memory Lane!

In a phrase, I wasn't disappointed. Even listening to the conventional CD layer, it was easy to get the sense that there I was again, listening to the 30ips master tape. Even with headphones, I heard no evidence of tape hiss; just beautifully balanced stereo sound with a tremendous sense of not only left-to-right spatial array but depth as well. (This is particularly evident in "The hero's battlefield" segment of "Ein Heldenleben," where the initial muted trumpet fanfares sound as if they are coming from well behind the orchestra.) Throughout both massive tone poems, the music is well-served by RCA's "minimalistic" microphoning, with just two mikes picking up the sound field, and every single instrumental voice (and there are many of them) can clearly be heard. (Sir Thomas Beecham, that evergreen source of bon mots, reserved one of his best for "Ein Heldenleben" when he wrote that "I once spent a couple of days in a train with a German friend. We amused ourselves by discovering how many notes we could take out of 'Ein Heldenleben' and leave the music essentially intact. By the time we finished we had taken out fifteen thousand.")

As for Reiner's interpretations, perhaps the simplest way of putting it is that there is no time in the last half century that I can recall when these two performances were NOT included in EVERY "essential recordings" discography (even when the sound quality was not as it is here, in the hybrid SACD release). Reiner had a way of not oversentimentalizing these two works, as if they had been the products of one of the world's greatest egos, which, in fact, they were: Strauss made no bones about himself being the hero of "Ein Heldenleben." Reiner keeps things moving along, lest they bog down for the empty rhetoric that they can often be in lesser hands.

A century ago, when Strauss had been the most famous composer who was also a conductor and Gustav Mahler had been the most famous conductor who was also a composer, audiences couldn't get enough of the Strauss tone poems. (I think, in fact, that the record will show that Mahler conducted Strauss's tone poems more frequently than he did his own symphonies!)

And a half-century ago, when I had been in my musical adolescence, so to speak, I too couldn't get enough of them. But they haven't worn all that well in the intervening years. Now, considerably older and modestly wiser, I can only take them in infrequent doses. (Perhaps I've simply taken Strauss at his word when he described himself as "a first-rate second-rate composer.") And, fortunately for this now-jaded me, these Reiner performances, long perfect in everything but sound quality, have arrived with, finally, sound quality that matches the performances.

I have every expectation that future "essential recordings" discographies will continue to include these performances, now with this newly-refurbished sound quality that is the match of any.

Bob Zeidler
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33 of 33 people found the following review helpful
SuperAudio shows off R. Strauss, Reiner, & Chicago October 20, 2004
By Dan Fee VINE™ VOICE
This master tape was originally made in 1954 in Symphony Hall in Chicago. RCA was experimenting with multichannel sound, in two or three channels, depending. This superaudio version encodes these master tapes directly into the new 24-bit digital format, sampling the signal and coding it digitally, over a million times per second. Both of these masterpieces for large orchestra get played to the nines, and then some, by the great Fritz Reiner and the Chicago Symphony in one of their several golden periods.

In his era, Reiner may have never gotten his full musical credit. He was often regarded as very, very good; but too much of a standardized middle-of-the-road interpreter. Hearing these again and again over the following years, almost everybody began to realize what a true master he was, especially in repertoire that he found most congenial. His Richard Strauss tone poems are tops. The orchestra is brilliant and warm and solid in every department. The master tape captures it all, and Reiner's tempos and pacing are so exactly suited to both immediate passages and an overall conception of each work that you don't notice them at all. You are left drinking in the music. Just watch those calories.

It is only when you hear other, poorer performances that you remember that Richard Strauss was generally regarded as a genius who wrote second-tier music. He even thought he was a little below the absolute highest among the composers. Strauss himself once said that his music should be able to describe a room exactly, down to the silverware on the linen table cloth. Reiner gives his Richard Strauss the sort of attention that brushes away all the kitch, and incisively brings this late Romantic-era descriptive music to life as if there were nothing to it.

You will probably be using this disc to show off your new SACD system, if you have one. You will also be getting one of the greatest recordings ever made of these particular tone poems. What's not to like? Highly, highly recommended for both sound and for incredible performance.
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33 of 34 people found the following review helpful
Reiner, The Chicago, and the Rest of the World in Richard Strauss January 11, 2008
By Doug - Haydn Fan VINE™ VOICE
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In response to the one reviewer, Mr. Stenroos, who doesn't hear what everyone else does and much prefers Karajan in this music I thought an overview of this Reiner versus Karajan business might be enlightening.

To begin with the sound quality of the recordings, an important matter in this case. Differences in performance were accentuated (exaggerated might not be too strong a word) by the very different recording philosophies of the American RCA and German DG sound engineers.

Many American music critics of the 60's and 70's disliked Karajan DG issues, which they found mannered, while the sound to American critics was usually described in unflattering terms; cut off, or flattened by excessive filtering. These very real problems were largely ignored by the European press, in particular the writers of the highly influential Gramophone magazine, which at times waxed so loudly and consistently in praise of Karajan the magazine sounded like a DG house organ. This marked split between American and British critics on Karajan carried over into performance, something I'll discuss below; ironically some of the best sound Karajan ever received was not from DG, but Britain's EMI.

Apparently some of this has sunk into the current corporate decision-makers at DG; recent DG reissues on CD of Karajan and others appear to have gone back to the original tapes with frequently noticeable improvement on the CDs over the original slick and lifeless - read airless - DG LP recordings.
It should be noted this was a DG and Philips problem - recordings made by Telefunken, for example of the Berlin under Keilberth, are superior to the contemporaneous DG recordings. Listen to Keilberth in the Beethoven 7th, or any of the 1950's EMI recordings of Andre Cluytens leading the BPO in Beethoven. These later, in both mono and stereo, give an indication of how during the next several decades DG engineers would travel very far indeed from the fresh and airy soundstage of early analogue stereo.
Digital recordings of Karajan, though more up-to-date, have other issues. It's also enlightening that when Karajan recorded the first CD of an orchestra work he chose Strauss' Alpine Symphony, a showy but frankly banal choice to ring in such a now universal medium.

Reiner's sound by contrast was far more natural sounding, the hallmark of the magnificent recordings made by the early stereo engineers in America. These were the result of a decade and a half of careful testing and comparison. John Pfeiffer (see RCA Victor CD, the Age of Living Stereo: A Tribute to John PfeifferThe Age of Living Stereo: A Tribute to John Pfeiffer) had shown his creativity earlier, utilizing the film industry's technical resources to make remarkably advanced recordings of Pierre Monteux and the San Francisco in the 40's. RCA engineers had also taken a stab at Koussevitsky's famous reading of Also Sprach with the Boston Symphony. Sadly, although this was praised in its day for fidelity, the marvelous sounds of this queen of orchestras remain muted.

When RCA's engineers set forth to try Also Sprach again, this time with Reiner's Chicago Orchestra, RCA's engineers had several advantages.

1) The LP process, just introduced at the end of the 40's, was now largely perfected.
2) Enormous advances such as the tape recorder created by war time necessities gave RCA engineers far better equipment.
3) The friendly but intense competition between Mercury engineers, who had produced outstanding monuaral recordings of Kublik with Chicago added to the fire and served as a benchmark.
4) The Chicago symphony all but owned Also Sprach on records; of the first three tries, two were made in Chicago, the last and most recent a fine performance by Artur Rodzinski.
5) And most important, the unique genius of the RCA team, which, when added to the marvel of the new stereo process, completely opened out the soundstage, and produced new revolutionary recordings. These night and day improvements over the old '78s of just a dozen years before remain among the high points of recorded history.

However, as has been correctly pointed how by several reviewers, the Reiner recordings did have issues. The organ was one, and in certain sections where a great deal is going on the Reiner recordings fall a bit short. It is difficult to say how much of this is the conductor and how much the medium. For example, recording sound or choice of orchestra does not wholly explain Kempe's unrivalled gift for balancing the multiplicity of thematic strands Strauss backs up like so many freight cars.

The Hybrid SACD over the regular issue.
There have been many incarnations of the Reiner performances on CD. This most recent shows this Hybrid format SACD something of a bucking bronco, with even more punch and vibrancy tan the previous regular CD. This gives a rather wild quality, with certain orchestra sounds seemingly bursting the soundstage, this aspect is more noticeable when contrasted with sweeter strings than previous CD issues. The soundstage appears deeper, and a comparison with the original LP shows the reissue engineers clearly took into consideration the very 'bloomy' sounds heard on the original tapes. I can only wonder what reviewer Zeidler must have felt on experiencing his first hearing of stereo in a demonstration of this music using 30 inches per second Ampex tape machines!!! The brilliant "you were there" review he wrote is testimony to the lasting impact of Reiner's recording heard in all its pristine glory.

As analogue recording was replaced with digital, just as vacuum tubes had a decade before been replaced with transistors, the old recordings were largely considered passe and outdated. It was only through the energy and conviction of a small number of believers that they were finally revisited by a significant number of music lovers. Some people still prefer the older recordings, though I suspect a majority will never have a chance, unlike Mr. Zeidler, to hear first hand just what these issues offer. However, RCA's issuance of this and other of these special recordings in a Hybrid format is a huge boost and great opportunity. The prices are beyond fair - they are an open invitation and one which I hope will encourage far more people than ever before to hear these magical legendary performances. Too, with access to the original tapes many of the limitations imposed on the earlier LP recordings are no longer an issue in the CD format. Recordings universally disliked for harsh sound, such as many made by Szell and the Cleveland orchestra, fine Straussians, have been radically improved through release on SACD. Others such as these Hybrid SACDs of Reiner and Chicago offer features unavailable in the original releases. Qualities of performance previously assigned to conductors such as Szell, such as a disinterest in such things as color or svelte and dulcet tone, now appear partially the fault of recordings limitations. Szell Columbia recordings revisited through SACD come across with a palpable degree of gemutlichkeit, a quality utterly absent and unrecognized in the originals. Perhaps some of the criticism of Karajan, such as found in the comment of Mr. Bass, may be adjusted as we hear the newer reissues.

As for styles, Reiner was not just a feared martinet, but also a man of the theater, and like Mitropoulos brought to his conducting an active and obvious immediacy. This flair for whipping up excitement is on display in many excerpts we have of Reiner as conductor in the two early avant-garde Strauss operas, Salome and Elektra. It's impossible to hear these without falling prey to such adjectives as,"incadescent", or electrifying", or "white heat". Reiner in Salome can be quite over the top when compared to Karajan, who conducts the work in a more paced and deliberate fashion. Karajan was equally no stranger to the opera house, but in contrast to Reiner built up excitement through scale and weight. Karajan also tended to treat musical lines with less tension; Karajan was a devotee of very long almost Bellini-inspired melodies, captured with great conductorial skill in the spinning-out of long held pedal points - which he used to great effect in Bruckner. Karajan was equally at home showcasing pretty and decorative trimmings, with all the Straussian glitter, noticably in Der Rosenkavalier. In a work like Salome Karajan and Reiner both fully tapped into the the music's sinister tweaking of harmony, though I personally appreciate Karajan's more subtle reading, I'd rather hear Reiner leading Lubja Weltisch. In Heldenleben each brought out the mock-heroic without sacrifying what was genuine, but here again Reiner shows an unwillingness to slow down and enjoy the moment. In the recordings of this work I largely concur with the thoughts of reviewer vanDeSande. However, neither condcutor's performance on Cd matches an astonishing tour performance of massive power and majestic string playing I heard of Ein Helenleben under Ormandy with the Philadelphia Orchestra - there's always room for a new hearing!

American critics, perhaps in an attempt to separate themselves from their British cousins, reacted harshly against many Karajan recordings. Indeed they fell over themselves in wonder at Haitink's Philips recording of Also Sprach - you can look it up. Karajan and Reiner were set on the shelf. Yet many of the same critics who did not like Karajan records wrote very positive reviews of Karajan concerts in New York, in his appearances either on tour, or as a guest conductor with the New York Philharmonic. Read more ›
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专辑曲目

Chicago Symphony Orchestra - Fritz Reiner Conducting - Also Sprach Zarathustra
01. Sunrise - Fritz Reiner
02. Of The People Of The Unseen World - Fritz Reiner
03. Of The Great Longing - Fritz Reiner
04. Of Joys And Passions - Fritz Reiner
05. Dirge - Fritz Reiner
06. Of Science - Fritz Reiner
07. The Convalescent - Fritz Reiner
08. Dance Song And Night Song - Fritz Reiner
09. Night Wanderer's Song - Fritz Reiner

Chicago Symphony Orchestra - Fritz Reiner Conducting - Ein Heldenleben
10. The Hero - John Weicher
11. The Hero's Adversaries - John Weicher
12. The Hero's Companion - John Weicher
13. The Hero's Battlefield - John Weicher
14. The Hero's Works Of Peace - John Weicher
15. The Hero's Retreat From The World And Fulfillment - John Weicher

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