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Busch Quartet -《舒伯特:“死神与少女”及第15号弦乐四重奏》(Schubert: String Quartets #14 'Death and the Maiden' & #15)1936[FLAC]

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  • 摘要:
    古典类型室内乐
    发行时间2006年10月03日
  • 时间: 2012/07/11 19:13:21 发布 | 2012/07/11 20:08:10 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Schubert: String Quartets #14 'Death and the Maiden' & #15
专辑中文名舒伯特:“死神与少女”及第15号弦乐四重奏
艺术家Busch Quartet
古典类型室内乐
资源格式FLAC
版本1936
发行时间2006年10月03日
地区英国
简介

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唱片公司:EMI
唱片编号:0946 3 61588 2 2
录音制式:ADD
资源出处:原版CD抓轨(FLAC+CUE)

专辑介绍:

引用
  宛如一部小型的音乐戏剧:在钢琴前奏中,死神踏着沉寂的脚步走向少女。低沉的音区和阴暗的和声,是死神的写照。面对死神步步逼近的威胁,少女发出了惊叫:伴奏奏着急促的节奏,体现了少女内心的惊慌、恐惧。在她唱到“我还年轻”的时候,旋律中出现两个小二度的进行,表现了少女对死的厌恶、对生的祈求。可是,她的抗拒是微弱的。冷酷的死神接着以丧钟般同音反复的音调,唱出了诱惑她长眠的歌声,特别是最后走向低八度的主音结束,更充分体现出死神的残忍、阴险。无辜的少女不得不向死神屈服。这是一篇对死的抗议书,也反映出在舒伯特所处的时代,软弱的市民阶层尽管力图抗拒,也无法摆脱那强大的封建黑暗势力。因此,这也是一出特定时代的悲剧,仿佛是舒伯特本人一曲自传式的悲歌。
  这首四重奏,D小调,D810,因第二乐章主题旋律与舒伯特1817年创作的歌曲《死神与少女》类似而具标题。作于1824-1826年,1826年2月1日在维也纳约瑟夫.巴尔特家中首演。共4个乐章:
第一乐章
  1.快板,D小调,奏鸣曲式。先是第一主题群的呈示,第一主题群有AB两个主题,两个主题中都有A的主导动机。然后第二主题群呈示,第二主题形成高潮,小结尾以第二主题断续表现而成。发展部以第二主题及A动机组成,第二主题以卡农方式展开处理。再现部以第二主题中的前半部旋律始,第一主题二度再现,第二主题转为D大调,然后以第一主题部的两个主题构成尾奏。
第二乐章
  2.流畅的行板,G小调,由《死神与少女》的主题、6段变奏及尾奏组成。第一变奏中,第一小提琴转为分散音,第二小提琴的旋律宛如主旋律。第二主题以下,都以相当自由的创意作成,尾奏主题由各乐器分开演奏,孕育出梦幻情趣。
第三乐章
  3.谐谑曲,很快的快板,D小调。谐谑曲主部突出了切分音效果,中段则保持一种美妙的流畅。
第四乐章
  4.急板,D小调,回旋曲式,其主题类似于贝多芬的《克莱采奏鸣曲》。


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引用
In the 1930's, the legendary Busch Quartet recorded Schubert's two final string quartets: the quartet no. 14 in d minor, D. 810, "Death and the Maiden" and the quartet no. 15 in G major, D.887. Schubert composed the "Death and the Maiden" in 1824, and the Busch Quartet recorded it in 1936. The Busch's recording of the 1826 G major quartet dates from 1938. The quartet was founded in 1912 by violinist Adolf Busch (1891 -- 1952). At the time of these recordings the quartet consisted of Busch on first violin, Gosta Andresson, second violin, Karl Doctor, viola, and Adolf's brother, Hermann Busch, cello.

Although these quartets have been recorded many times, the Busch Quartet readings set a standard in their musicality and passion. Schubert's late quartets are tragic and death-haunted. The Busch Quartet performance is angular and anguished with none of the prettiness that is sometimes associated with Schubert. The 1930s sound is thin by modern standards but entirely adequate to convey the power of the Busch Quartet's performance and of Schubert's music.

The "Death and the Maiden" quartet was a landmark for Schubert. It was written after the composer had recovered from an illness while learning that he suffered from tertiary syphillis. Schubert was forced to come to terms with his own impending death. Many listeners find a that this quartet bears a programmatic, personal interpretation. In his study, "Franz Schubert and the Mysterium Magnum", Franz Schubert and the Mysterium Magnum Frank Ruppert writes of the "Death and the Maiden" quartet:

"The terror of death must be mastered. The creation of the sublime disposition in the face of this terror is the wanderer's challenge here. It will remain a challenge througout the composer's remaining years, one that he faces in work after work. Here as always the wanderer comes to terms with death, and thereby discovers the key to life."

The centerpiece of this quartet is the second movement in which Schubert writes a series of hauntingly intense variations on the short song called "Death and the Maiden" he had composed in 1817. The Busch Quartet omits Schubert's repeats, based on the limitations in recording capacity of the day, but the quartet captures poignantly the tragedy of this movement. The Busch Quartet also convey's the anguished opening movement, more relaxed Scherzo and trio, and the whirlwind and resolute finale of Schubert's score. This quartet offers a sense of the inevitability and awfulness of death together with the power of the human spirit to persevere and triumph in its face.

Many critics have found that the Busch Quartet's reading of G major quartet, Schubert's final composition in the form, has never been surpassed. The quartet is a longer more difficult work with similar themes to those of the "Death and the Maiden" quartet. The quartet remained unpublished until 1851. The G major is a work of many different and shifting moods with an underlying unity in its four movements. The lengthy tension-building tremolo figure which opens the quartet sets the stage for the entire work. The long first movement is harmonically ambiguous as its several themes move between the major and the minor keys. The overall mood is of impending death. The slow movement of this work also includes a great deal of tremolo and is deeply sad and tragic character. The third movement again is in the nature of an interlude with a lighter, almost elfin scherzo. The quartet concludes with a fierce tarantella-like dance which again seems ambiguous in its key and in its form, moving between a rondo and a sonata. As does "Death and the Maiden" the G major quartet in a less programmatic way suggests human power to live and triumph in the face of death.

The current reissue of the Busch Quartet's 1930s recordings dates from 2006, and it is deservedly part of the EMI classics series of "Great Recordings of the Century." This is a classic reading of Schubert's great quartets which will be treasured by any listener with an interest in chamber music.

Robin Friedman



专辑曲目

String Quartet No. 14 in D minor D.810, "Death and the Maiden"
1. I. Allegro
2. II. Andante con moto
3. III. Scherzo (Allegro molto) & Trio
4. IV. Presto
String Quartet No. 15 in G major D.887
5. I. Allegro molto moderato
6. II. Andante un poco moto
7. III. Scherzo (Allegro vivace) & Trio (Allegretto)
8. IV. Allegro assai

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