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Erich Kunzel -《柴科夫斯基 - 1812序曲》(Tchaikovsky - 1812 & Other Works )[SACD-R)

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  • 摘要:
    古典类型全集作品
    发行时间2001年05月22日
  • 时间: 2012/07/06 14:28:28 发布 | 2012/07/06 17:58:07 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Tchaikovsky - 1812 & Other Works
专辑中文名柴科夫斯基 - 1812序曲
艺术家Erich Kunzel
古典类型全集作品
版本[SACD-R)
发行时间2001年05月22日
地区美国
语言英语
简介

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专辑介绍:

1880年,柴可夫斯基受託为沙皇即位二十五週年—即为纪念1812年俄法战事的救世主基督大教堂的竣工而谱写一曲应景。柴氏虽极厌恶沙皇,但在对方坚持下,终於还是谱写了这首描写俄法战事的「1812序曲」,并於1882年首演,迄今在各种音乐会曲目中屹立不摇!

柴氏同时期的作品「义大利随想曲」是根据义大利舞曲、歌谣谱写而成,曲式自由;「哥萨克舞曲」则是为歌剧「马采巴」而作。本片录音工程艰鉅,是对录音技术的革命性考验。回顾20世纪的璀璨音乐历程,能全面涵盖流行、古典与爵士各领域的作曲大师,仅有美国的盖希文一人耳!儘管39岁就英才早逝,但他的杰出与不朽,完全可以在这张盖希文作品中印证,曲目包括《蓝色狂想曲》、《一个美国人在巴黎》等膾炙人口的名曲。

Audio CD (May 22, 2001)
Number of Discs: 1
Format: Hybrid SACD - DSD
Label: Telarc
ASIN: B00005AVNH

Artists: Erich Kunzel, Cincinnati Pops Orchestra, Kiev Symphony Chorus, and Children's Choir of Greater Cincinnati
Title: Tchaikovsky: 1812 Overture
Genre: Classical
Label: Telarc
SKU: Telarc SACD-60541 (changed from 80541)
UPC: 0-89408-05410-5

Music: A Recording: A- Extras: B

Summary: The performances of Tchaikovsky's 1812 Overture and his other works are marvelous in this fine original multi-channel DSD recording. The cannons literally blew me away in the crowd-pleasing title track, but perhaps it was far too loud to really enjoy the music. As a hybrid SACD with an audio CD layer, you can enjoy this album now using any audio CD player. But the SACD really comes to life when you play it back in a high-resolution multi-channel music system. What you get is an immersive experience and some pretty impressive demo material from this near-reference quality recording.

The Music

Erich Kunzel and the Cincinnati Pops Orchestra bring us a remarkable performance of select masterpieces from Tchaikovsky, including the well-known 1812 Overture, complete with live cannon recordings. These cannons start firing their first round of shots at time counter 12:33, and continues with additional volleys in the 6-channel DSD (Direct Stream Digital) recording at about 14:41. Recorded with DSD's wide extra dynamic range, these cannon blasts are indeed loud, so pay serious attention to the box's warning about setting the playback volume level conservatively during your first go at the title track. As exciting as the cannons are, you don't want to find your speaker drivers on the floor in front of your loudspeakers. Joining in just for the title track are the Kiev Symphony Chorus and Children's Choir of Greater Cincinnati. The performance is awesome during this title track, but the recording and resulting mix are just shy of ideal. We'll get to the specifics of what we mean in the next section.

The rest of the tracks feature the orchestra sounds of the Cincinnati Pops Orchestra as they perform some of Tchaikovsky famous works. My favorites among these would have to be: the Polonaise from Eugene Onegin (Op. 24), Capriccio Italien (Op. 45), Marche Slave (Op. 31), and the Waltz from Eugene Onegin (Op. 24). It wouldn't be difficult to guess that Tchaivkovsky is one of my favorite classical music composers. Thanks to SACD technology and the sensational performances in this album, this is one of the SACD albums that has recently renewed my excitement in dedicated music listening. I unequivocally recommend this SACD title for fans of Tchaikovsky and classical music.

The Recording

The title track starts out beautifully with the Kiev Symphony Chorus, which interestingly enough was actually recorded a year before (on September 22, 1998) due to their busy touring schedule and the availability of the DSD recording equipment and support team. Almost immediately, I got a sense of the acoustic space from the reverberations in the surround channels. Even the chorus seems to float beyond the front walls of my listening room. Later in the piece, the Children's Choir of Greater Cincinnati joins in with the Cincinnati Pops Orchestra. The orchestra was recorded on September 13, 1999 in the Music Hall of Cincinnati, Ohio.

While the DSD recording of the cannons sounds good in the title track, their sound levels were far too loud and actually detracted my overall enjoyment of the music content in the title track. I enjoyed the music at a reference volume level until the cannons start firing some twelve and a half minutes into the piece. I then had to turn down the volume to a lower comfortable level, since the cannon blasts were recorded at extreme high levels, but that left the music too soft to enjoy. Later, starting at about time counter 13:26, the choruses, the carillon bells, and the orchestra were all simultaneously performing at crescendo levels. The mix during this passage seems to have overwhelmed the recording. The resulting sound was unclear and muddied, and lacks the usual details.

The rest of tracks are pure musical performances by the orchestra (i.e., thankfully cannon-free!) and were beautifully recorded in 6-channel. The miking was designed to produce a multi-channel recording that would faithfully reproduce the acoustic ambiance of the Music Hall in Cincinnati, Ohio. As a result of this approach, the surround sound channels are used only to reproduce the hall's natural reverberations. The sixth channel in this recording is not reserved for low frequency effects (LFE) for the subwoofer. Rather, Telarc uses the sixth channel, which is capable of full frequency reproduction, for a height channel, implemented by a pair of small speakers placed high on the side walls, in the middle of listening area. In my system, implementing a height channel is not practical, so I did not review this recording with the 6th channel, which Telarc considers optional anyways. Regardless, when I close my eyes or turn off the lights at night, I do feel transported into the acoustic space of the Music Hall even in the 5-channel mode. The experience is mesmerizing.

If it weren't for the excessively loud cannons and the muddy mix of the climatic portion of the title track, this SACD would have received a perfect score for the recording. I had to penalize the recording grade one notch, taking it down to an "A-". But overall, this is a very good all-original multi-channel and stereo DSD recording. The multi-channel version does a wonderful job of reproducing the original acoustic space.

Bonus Materials

Tracks 8 through 13 on the multi-channel DSD recording are dedicated to helping audio enthusiasts and audiophiles achieve proper speaker setup for multi-channel music listening. It's basically a channel identification and pink noise signal source which can be used in conjunction with a RadioShack sound pressure level meter to adjust and calibrate the volume levels for each speaker, using the multi-channel balance adjustments of the Super Audio CD player. A calibrated and well balanced multi-channel audio system is essential in faithfully reproducing the multi-channel recording. Major kudos for Telarc for recognizing the need and for including this material! Telcarc should add this bonus feature to more of their future SACD releases.

Disc Compatibility Notice

This Super Audio CD (SACD) features a hybrid construction, with a layer for full audio CD compatibility and a layer for high-resolution stereo DSD and multi-channel DSD recordings. The audio CD layer can be played back on any audio CD player or CD-ROM drive, and will have the sound quality like any other audio CD. To hear the high-resolution stereo DSD recording, a stereo or multi-channel SACD player is required with stereo analog output to a quality 2-channel audio system. To hear the high-resolution multi-channel DSD recording, a multi-channel capable SACD player is required with 5.1-channel (6-channel) analog output to a multi-channel home theater audio/video receiver. The high-resolution stereo or multi-channel DSD recording layer on this disc will not play in an audio CD player, DVD-Video player, DVD-Audio player, or DVD-ROM drive.

引用
[彻底研究] 柴可夫斯基 《1812》序曲 文/Jackie

一、前言:

在八十年代初,柴可夫斯基的《1812》序曲是香港发烧友试机指定曲目之一。如果你自称发烧友,而又未听过这首序曲,有两个可能,一是你很年轻,可能是八十年代出生的小朋友、二是你并不怎么发烧,极其量只是感冒罢了。

「序曲」原指歌剧、芭蕾舞剧或清唱剧等的开场音乐,19世纪以来,作曲家常採用这种体裁写成独立的管弦乐曲,其结构大多为奏鸣曲式,并加有标题。《1812》序曲即属於独立、有内容的管弦乐曲。

在乐评家心目中,《1812》序曲不算柴可夫斯基最好的作品,即使柴氏本人,在写给梅克夫人(柴可夫斯基的主要赞助者)的信中也说:「这首序曲将会非常嘈杂而喧哗,我创作它时并无太大热情,因此,此曲可能没有任何艺术价值。」

讽刺的是,《1812》序曲在首演时已大受欢迎,为柴可夫斯基赢得极高的声誉。后来陆续在俄罗斯许多城市和德国、捷克、比利时各地演出,自此一直成为柴可夫斯基交响乐作品中最形象鲜明、通俗易懂和备受欢迎的作品之一,这点恐怕出於柴可夫斯基意料之外。

二、《1812》序曲的创作背景。

柴可夫斯基在1880年写的《1812》序曲,全名为《用於莫斯科救主基督大教堂的落成典礼,为大乐队而作的1812年庄严序曲》。够长吧!如果你去唱片店买碟时可以一字不漏的背下去,那我真的佩服你了。

这首曲是柴可夫斯基应他的老师尼古拉‧鲁宾斯坦之请而作,目的是庆祝莫斯科救主基督大教堂的重建––这座教堂曾在1812年法俄战争中被战火焚毁(另一说是此曲为莫斯科艺术工业博览会而写)。
 
三、《1812》序曲的内容。

1812年,拿破崙率领60万大军入侵俄国,企图在短时间内歼灭俄军,佔领莫斯科,并迫使俄国投降。战争开始时,拿破崙军队在数量佔优势的情况下,俄军不得不逐步撤退,法国迫近莫斯科,俄军司令库图佐夫採取坚壁清野,烧毁粮草的战略,并撤退居民,率军暂时撤离莫斯科。拿破崙在佔领莫斯科一个月后,仍无法迫使俄国投降,反而令自己孤军陷入重围,於是下令撤离莫斯科。撤退途中,拿破崙军队不能适应俄国严酷的冬天,加上飢饿和俄军的反击,终致溃败。拿破崙入侵俄国时多达六十万的的部队大部分被歼灭,最后只剩下不足万人逃出俄国国境。

《1812年》序曲是根据上述史实写成的一部管弦乐作品。柴可夫斯基在这首序曲中层次分明地叙述了1812年的这一事件,包括俄罗斯人民原来的和平生活和随后发生的不安和骚乱,俄法两军的会战,以及最后俄国击溃法军,俄罗斯人民庆祝胜利的狂欢情景等。
 
四、《1812》序曲为何被音响发烧友用作测试器材。

我在上面已提过,这首序曲并不是柴可夫斯基最佳作品之一,但为甚么会广泛被发烧友用作测试器材之用呢?(这里有不少《音响论坛》刘汉盛的信徒吧,告诉你,刘汉盛测试管弦乐也推荐利用《1812》序曲)理由很简单,这首序曲除了运用正常管弦乐编制的乐器外(包括三个定音鼓、三角铁、铃鼓、大鼓、鈸等),还动用了军鼓、大炮、鐘等超常乐器在内,在序曲的结尾处还另加了一支军乐队,以期收到热闹和生动的效果。

这首序曲在第一次上演时,鐘鼓炮齐声轰鸣,配合乐团的演奏,已令参加典礼的公眾大为激动。到了近代双声道时代之后,录音技术大为跃进,有几家公司在唱片内加入真实炮声,更使音响发烧友著迷,他们往往利用实砲录音的版本来考验器材的力度、瞬态、低频等方面的能力。

假使你并非「大炮党」,请细听全曲,留意到吧!这首序曲音量起伏变化极大,动用的乐器非常多,听清楚其中的弦乐、木管、铜管和打击乐器,它可以检验你的器材音质音色、结像定位、强弱和动态对比……

如果你不能分辨不同乐器的声音,可以先买一隻「彼得与狼」的音乐碟。我推荐你买NAXOS的版本(Peter and the Wolf Naxos 8.554170DX)一本画册加CD,正价是50元左右,特价时30多元(错了别骂我)。任何古典乐的初入门者和有小朋友的家长,我都推荐你们买一张「彼得与狼」,在这首曲的故事里,每一个角色都由管弦乐团其中一种乐器扮演,对你辨音帮助很大,而小朋友一定听得很开心(你要陪著他听啊!)。
 
五、分析《1812》序曲。

我选取用作分析的版本是Mercury Antal Dorati指挥 Minneapolis Symphony Orchestra的版本,这是我比较喜欢的版本。当然,我也喜欢RCA Eugene Ormandy指挥The Philadelphia Orchestra的版本,为甚么我没选近期很多网友买了的Telarc版本?很简单,我认为这版本不理想。(刘汉盛的信徒别骂我,也许你们看了刘老总的推介已买了张Telarc的版本),由於每个版本的演绎都稍有不同,请自行调节(例如,我说甚么时候听到某些乐器,你在家聆听时发觉时间可能早了或晚了出现,并不是你的音响有问题,也许只是我们听的唱片版本不同而矣。),还有,听之前找一张管弦乐团排位的图看看,用来了解乐器的定位。

分析部分我根据杨民望的《世界名曲欣赏》(上海音乐出版社出版)来写,这是权威版本,国内和台湾好多评论都是根据这书写(偷)的(香港例外,我们的唱片评论员有极丰富的想像力,他们会胡乱创作和胡说八道,他们有足够的无知和失实,因此,让香港人有足够的材料被人取笑)。如果你习惯看字典一般厚的书,你可以买下来(两本字典),如果你怕大书,杨民望有一本《交响乐欣赏入门》(上海译文出版社出版),是前书的节本。

这篇文章主要是针对古典音乐的入门朋友,故此我尽可能不使用音响用语,实在不能不用时,请网友见谅,这些术语并不难理解。希望完全不懂古典音乐的朋友查查书籍,再不然运用一下自己的想像力吧,写得不够专业和準确的地方,也请方家雅正和见谅。(唉!免费午餐,写得唔好都不要骂我!)

乐曲从一段辽阔的慢引子开始:这是由中提琴和大提琴分成六个声部的方式(每个声部两人)奏出的一支古老的赞美诗《主啊,拯救你的子民》(台湾译为《天主佑民》)的旋律,它那安详的步伐象徵著俄罗斯人民和平与安宁的生活。到了(1:18)左右,这个主题加入木管乐器,音响庄严、宏伟而有力。

紧张的气氛在增长著,随著(1:53)左右的一声定音鼓,你会听到低声部出现一种惊惶不安的节奏,它带来骚乱而激动的情绪,象徵法军的入侵已打破俄罗斯人民安宁的生活。这时你可以听到一个音调柔和动人、如泣如诉的主题在双簧管、长笛、单簧管和大管(2:46)声部轮流传递。(2:53)和(3:01)左右,你会听到鼓鈸对击的声音,音乐的速度开始不断地加快,音响也不断地增强,音乐进入一个小高潮。

在(3:12)左右,原先的不安情绪被一个描绘徵集俄罗斯军队的插段所代替,你会听到急促的军鼓声(3:26),在小军鼓背景的衬托下,木管乐器和法国号奏出一个号召性的合奏主题,这个主题经过几次反复,随后是一个短暂的休止(4:25)左右,音乐转入快板部分(4:28)左右。

这时的音乐和前一段音乐形成鲜明的对比,这时音乐的速度极快,开始描写两军决战的场面,从这主题特意加强的重音和切分音中,彷彿可以听到剑击声和马蹄声似的。当这个主题逐渐遍传整个乐队并发展到最高潮时,在(5:02)左右你会听到击鼓声,到了(5:08)左右,法国号和短号相继奏出《马赛曲》,它的反复呈现用以作为法国军队侵入俄国的象徵。

两支旋律在互相碰撞交错后逐渐舒缓下来(6:04),接著出现的是同《马赛曲》主题相异的两个俄罗斯风格主题。(6:20)出现一支流畅、辽阔的俄罗斯民歌,诉说著俄罗斯人民对自己祖国的热爱,以及他们不畏强暴、準备给予来犯的敌人迎头痛击的决心。留意这时乐团打三角铁的声音,你应该听到足够的泛音,如果你只能听到暗哑的音色,不是你的唱片录音欠佳,就是你的器材差劲。

另一个在(7:35)出现的主题是俄罗斯婚礼歌曲《在大门旁》,先由长笛和单簧管奏出,具有一种热情的特性,在(7:53)左右你会听到铃鼓的声音,它应该是澄清的。这投歌曲充分表现出俄罗斯人民即使在危难时刻仍然不失去蓬勃的朝气和肯定自己力量的信心。和上面的俄罗斯旋律一样,舒缓了紧张的战斗情绪。

随后一段(8:36)又是会战场面的描绘,音乐显示新一轮的搏斗,铜管乐器和弦乐器错综交织,打击乐器象徵刀光剑影的搏斗,(9:08)开始,你会听到多次击鼓和击鈸的声音,而《马赛曲》在后期会渐次减弱并逐渐消失,它的片断只是加快了速度,时断时续,后来在低音弦乐器的阴沉音调衬托下转入低音区(大管、低音长号和大号)。

(10:06)又出现我们熟知的两个俄罗斯风格的主题,留意三角铁的声音。这段再一次强调俄罗斯人民对入侵的敌人的胜利。(10:52)左右你会再听到熟悉的俄罗斯民歌。紧接在《马赛曲》(11:13)主题之后,乐声的速度加快和加强,到了(11:47)出现第一声炮响,接连出现五下炮声,音乐转入暴风骤雨般的下行乐句,至(12:36)停止,描绘最后的搏斗和敌军的溃逃,形象鲜明、逼真。

(12:37)左右,进入乐曲的尾声,从引子的赞美歌调主题开始,这时候,整个乐队和临时添加进来的管乐队以雷霆万钧之势庄严而宏伟地奏出,你会听到加入来的鐘声,由於结合著管鐘的特别新颖的色彩,显得更加威武堂堂,成为一首辉煌的胜利颂歌,象徵著斗争的光荣结局。但是这首赞美诗的有力陈述屡次被会战主题的一些急速的乐句所打断(13:40),这些音阶式乐句的重现,使人们又回想起过去同敌人的搏斗。

最后,一个庄重而有力的主题响起来了,这就是格林卡的歌剧《伊凡‧苏萨宁》的终场合唱《光荣颂》的主题,(13:52)左右,配合十一响炮声和教堂响起的鐘声,它是俄罗斯人民最后胜利的宣告,整个乐曲就以这凯旋的欢乐颂歌作为结束。
其他内容请参阅 http://www.review33.com/event/200107/1812.php


引用
TELARC CD-80541 对不起,我由始至终觉得TELARC出品的《1812》序曲不过尔尔,Erich Kunzel算不上大师级的指挥家,Cincinnati Pops Orchestra也不是世界一级乐团,但这并非我要批评的地方,因为我听过Erich Kunzel指挥Cincinnati Pops Orchestra其他曲目,整体上仍给人活力感。

最可惜是这个《1812》序曲版本,正如TELARC部分录音为人詬病一样,它给我的感觉是整体协调差劲,录音不平衡,演奏音色暗哑,层次不够分明,唯一的卖点是炮声厉害,音效惊人,但炮声不是评价一首管弦乐的重点啊!真的佩服这张唱片的代理,是他们的功劳,将一隻不怎么样的唱片吹成试音天碟,唉!清醒下啦!香港人。

当然,这隻碟也并非一无是处,它收录的炮声音效相当惊人,经过DSD处理后,唱片的背景宁静度也提高很多。此外,这张是唯一有SACD的唱片,如果你要听音效,你要听大炮声,买这隻碟吧!但假使我只能买一隻《1812》序曲,这隻唱片显然并非我首选。


引用
Really Great Cannons! August 27, 2001
By ALK
Format:Audio CD
First, let's start out by admitting this was meant to be a demo disc. Since the LP was invented, Tchaikovsky's 1812 Overture has been used to show how close audio reproduction is getting to "perfection" - whatever that is.

This 6.0/5.1-channel SACD does not disappoint. The cannons are so realistic that my dog was arching her head to try to figure out where the sound was coming from (the only other time that happened was in the "barking" sequence of the remastered "Hey Bulldog").

Since cannons come out of all four corner speakers, it made quite an interesting scene. My multichannel SACD player directed the low bass to the LFE channel - make sure to set your bass management properly on your multichannel SACD player, such as the Sony SCD-CE775, before playing the disc. The equalization and levels are very consistent with other multichannel SACDs.

The orchestra sounds very realistic, as you would expect with a multichannel SACD. The orchestral recording is designed to surround the listener rather than have discrete points, unlike the cannons.

In addition to the 1812 Overture, the disc also contains a number of Tchaikovsky's other works. At the end of the multichannel SACD are 6 tracks of test tones for help in balancing the SACD player. I found the LFE track to be invaluable and better than the player's test tones. The voice used to introduce each tone is sure to bring a smile to any face.

The reason the 1812 SACD is listed as a 6.0/5.1-channel disc is that the orchestral part of the disc contains an "upper center" channel output instead of LFE output. This really isn't a problem as long as the disc is played with the multichannel SACD player's bass management set properly and the subwoofer's (LFE) low pass filter is enabled. The test tones, however, are output in 5.1 channels, which allows the disc to setup a normal 5.1-channel system. If I had a choice I would have made the whole disc 5.1-channel to avoid confusion, but Telarc didn't ask me.

The disc also contains a CD layer, for playing stereo output on a regular CD player. The multichannel SACD is easy to use, unlike DVD-Audio discs. The player's internal LED display shows the name of the disc and the name of each track as it is played.
Basically, it works just like an enhanced CD.

Overall, the multichannel SACD test tones would make this disc a must have by themselves. On top of that is some of the most realistic sounds yet available for the home audio system.

A "must have"!

Note : Some earlier version of this multichannel SACD may have been stereo only. The multichannel SACD has Telarc catalog number SACD-60541.



专辑曲目

1. 1812 -- Festival Overture, for orchestra in E flat major, Op. 49 () - 15:47
Choir – Children's Choir Of Greater Cincinnati
Chorus – Kiev Symphony Chorus
Directed By – Robyn Reeves Lana, Roger McMurrin

2. Eugene Onegin, opera, Op. 24 - (Polonaise) - 04:37
3. Capriccio Italien, for orchestra (or piano, 4 hands), Op. 45 () - 15:46
4. Slavonic March, for orchestra, Op. 31 () - 09:37
5. Eugene Onegin, opera, Op. 24 - (Waltz) - 06:46
6. Festival Coronation March, for orchestra (or piano) in D major () - 04:47
7. Mazeppa, opera - (Cossack Dance) - 04:20

Performers: Michael Bishop (Sound Effects)
Orchestra/Ensemble: Cincinnati Pops Orchestra
Conductor: Erich Kunzel

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