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Vladimir Ashkenazy -《萧邦 - 圆舞曲和夜曲》(Chopin - Waltzes & Nocturnes)[FLAC]

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  • 摘要:
    古典类型全集作品
    发行时间1992年
  • 时间: 2013/08/19 09:30:03 发布 | 2013/08/20 07:20:58 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Chopin - Waltzes & Nocturnes
专辑中文名萧邦 - 圆舞曲和夜曲
艺术家Vladimir Ashkenazy
古典类型全集作品
资源格式FLAC
发行时间1992年
地区美国
语言英语
简介

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专辑介绍:

夜曲的语源系从拉丁语NOX演变,在罗马时代,有“夜神”之意。夜曲形式的创始人,一般认为是克莱门蒂(Clementi,1752—1832)的学生、英国人约翰?菲尔德(Field,1782—1837),其夜曲名称,可能取自天主教会的“夜祷”。费尔德一生作有21首夜曲,萧邦也作有21首夜曲,其中明显可见菲尔德的影响。但正如哈聂卡所说:“ 萧邦拓展和提高了费尔德形式,溶进戏剧气息,热情,使之更庄丽。菲尔德的夜曲是朴素的牧歌形态,萧邦所努力的不是单纯的,而是经过装饰,过於阴鬱,具有东方气息。这不是经过温室飘溢出音乐学校的异国情调,也没有非诗性的爱尔兰人所栽培的野花的新鲜气味。”

音乐历史的特质之一就是那些在远离本土也能够盛名远播的作曲家的数量。在萧邦的例子中,这点可见一斑:他生於波兰,是一个1787年移民入境的法国人的儿子;从21岁起,巴黎成为了他的家,然而这一切在他离开祖国到西欧去寻求他的音乐梦想时并非是刻意安排的。在巴黎,他成为了柏辽兹,李斯特,孟德尔松,以及眾多在那个时代远比在以后更负盛名的作曲家们的朋友。而且,在和SCHUMANN一起参观德国时,还结交了眾多作家和画家,特别是DELACROIX。可以想像这一切对於一个20多岁的作曲家来说会有怎样显著的影响。然而,儘管萧邦的大多数作品都是在他到达巴黎以后完成的,但是那些两三年前创作的——包括钢琴协奏曲,21夜曲——已经显示出了他非常成熟的音乐表现风格和钢琴演奏技巧,这些成为了他以后艺术生活最重要的特徵。在那之后最为显著的改变就是结构的精致和技巧的精湛,做个比较吧,巴赫的成就也不高於他。

作为一种钢琴流派的夜曲,“night-piece”是由JOHN FIELD发明的。JOHN FIELD是爱尔兰人,於19世纪早期移民到了东欧,从地理角度来说,他的路线刚好和萧邦相反。JOHN FIELD於1812和1839发表的作品都是基於演唱旋律的模式,华丽而并非用低音模式来使旋律协调——这显然就是萧邦的起点。儘管1832年以前萧邦和JOHN FIELD从未谋面,但他幼年在华沙可能就听说过JOHN FIELD,或者是听说过JOHN FIELD的作品。在萧邦的一生中,曾经亲自发表了18部作品,1827年到1837年间保存的三部夜曲,在下个世纪才被发现并发表。但是,它们在萧邦作品中的地位却是勿庸置疑的。

萧邦在音乐史上的準确意义至今仍然很难定位,部分的原因是他的作品很大程度上都依赖於钢琴,还有就是因为他的作品都清晰的表现出对那种可以被精准的划分为各个部分的一种倔强的抵制。它们更加依赖于非凡的变化和即兴的表演,为了使每一篇章更为生动,通常会把标準的正式类型的一种或者多种­——例如使用三元形式(夜曲的基础)或者是奏鸣曲的形式——混合在一起,而且没有哪两个部分会使用相同的混合。同样的,在一个篇章后部对较早段落的重复不仅具有各自不同的加以修饰和改变的旋律,而且还使用不同的合音方式及伴奏配乐。这样一来,就用一种前移的生动形态弥补了三元形式对称的不足。

除此之外,夜曲还表现出了萧邦对融合不同流派外观上差异的特殊兴趣。正如华尔滋,玛祖卡舞曲,或者威尼斯的船歌都是除了叙事曲,谐謔曲或者波洛涅兹舞之外易於舞蹈的流派,夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲,NO.20——这样意想不到的并置,就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种衝击,它与存在於那些半梦半醒之间稍纵即逝领域中的乐感息息相关。最为典型的例子是OP.15NO.3,在它中间有著玛祖卡舞曲的惊鸿一瞥,之后是肃穆的讚美诗部分,这一部分突然缩减了这一篇章,而不是象预期的那样回到开始之处,而早期的手稿中这里是採用了传统的DA CAPO返回(这篇手稿的另一面还写有OP.10NO.9,这表明这部夜曲至少有一部分是在1833年以前创作的)据说萧邦把这个乐章和哈姆雷特——在他的音乐中提及的眾多文学映射之一——联繫在了一起。

这些夜曲构筑了作为萧邦叙事曲和其他大型作品的最基本素材,这其中常常包含著显著的对比与衝突。后来,夜曲之间的对比变得微妙起来,韵脚背景的转换常常越是令人不安,过程中产生的噪音就越是不明显。


降E大调华丽圆舞曲Op.18
肖邦作于1831年,是一首高技巧、华丽、辉煌而热烈的音乐会圆舞曲,舒曼说本曲是肖邦“身心都在跳动的圆舞曲”。乐曲分为五部分,第一部分为急板,一开始是4小节用同音反复的引子,节奏性很强,宛如号角齐鸣,带有辉煌的色彩。紧接著出现的圆舞曲主题热情奔放,充满了生命活力。第二部分运用大跳的音程和导音式的半音上行等表现手法,旋律舒展畅达,表现了华丽明朗的色彩。第三部分有大量休止符,使活泼的旋律带有灵巧细腻的特点。第四部分半音进行得音调甜美舒畅,温柔抒情。第五部分是第一部分的再现,最后重现各主题片段,音乐在热烈欢快的气氛中结束。
这首作者生前发表的第一首圆舞曲是最为轻快华丽的一首,很容易让人联想起韦伯繁荣<邀舞>,把人们带进欢快的舞会场面.乐曲除了引子和尾奏,可分为五个部分:第一部分以降E大调为主,第二和第三部分以将D大调为主,第四部分在降G大调上,第五部分回到降E大调.

Album Features
UPC: 028943075121
Artist: Vladimir Ashkenazy
Format: CD
Release Year: 1992
Record Label: Decca (USA)
Genre: Classical, Dance, Nocturne, Waltz
Release Date 1992
Duration 01:07:47
Genre Classical
Styles Keyboard

引用
The Good: One or two decent bits of music, Duration
The Bad: Poor mix, Lack of emotional resonance, Narcoleptic Nocturnes
The Basics: Frederic Chopin's Waltzes & Nocturnes are played universally slow and sad by pianist Vladimir Ashkenazy, evoking little emotional reaction and summoning sleep, even from the well-rested!


I hate writing reviews of classical c.d.s. I hate doing this not because I don't love classical music, but rather because I am a layperson, not a professional classical music expert or connoisseur. Which means, my reviews tend to do their best to describe the music and then declare whether or not I actually enjoyed the music. But as far as a universal standard of quality, I'm not it. One of my favorite Mussorgsky albums (reviewed here!) gets a lot of play around my house and in the car, but when my mother heard it a few weeks ago, she just crewed up her face and said "This is terrible!" I said, "I like Mussorgsky," to which she responded, "So do I, but this recording is doing nothing for me!"

With that in mind, Waltzes & Nocturnes is by no means the first Chopin work I have reviewed. Once upon a time, I timidly reviewed a collection of Nocturnes (reviewed here!) and I found I did not enjoy them. Because I have heard a great deal about how Chopin's Nocturnes are important and some of his best works, I've been eager to find some that I enjoy.

This album was not it. With seventeen tracks (ten waltzes, seven nocturnes) clocking in at almost sixty-eight minutes, pianist Vladimir Ashkenazy presents a bunch of songs that ultimately have a narcoleptic effect and feel to them. This is music to put oneself asleep to.

One of the reasons I - and I suspect many others - cringe away from Classical music reviews is because there are no lyrics. In the case of Waltzes & Nocturnes, the music is solely one man at one piano and without words to critique in combination with music, the big questions are; what does it sound like and what effect did it have on you? Both of these are highly subjective and not terribly useful. Striving for that "very helpful" is hard with so little to work with.

I write "so little to work with" because composer Frederic Chopin (1810 - 1849) gives the listener so little to work with. Musically, there are things that may be mentioned ("Waltz E minor, op. posth." includes a number of going up and down the higher ranges of the scale and sounds is composed of fast movements, so it seems like it must be hard to play), but for the subjective experience of what it means, the composer is of no help whatsoever. The titles to the pieces describe them to the classical music aficionados, not to the common person. With titles like "[Nocturne] E flat major, op. 9 no. 2" and "[Waltz] A minor, op.34 no.2" the listener is left with no reference point and it's both annoying and snobbish. It's the auditory equivalent to a painting entitled "Oil Painting, White Canvas, 96% Yellow Ocre, 4% Cadmium Yellow." Yes, it tells us what it is, but it does not tell us what it IS. It's enough to make me wish I were a time traveler, working at a cafe and when Chopin walked in I offered him "83% H2O, 7% Citric Acid, 10% Vitamins C, D, E and B12." Should he look at me funny, I would be able to declare, "Now you know what it feels like, you pompous ass!"

I write this not because I lack the imagination to feel what these piano numbers might make me feel or because I am somehow deficient in the research skills to find out what all these chords and numbers mean, but because the titles do not say anything! Even if I knew all of the code, it would still be a list of the composition. When I was in college, there was a research paper I wrote on Anton Chekov's The Ant that I remember to this day. I spent time and effort researching the comparisons in Chekov's story to a fable and I churned out the required five pages with the (admittedly lame) thesis "Chekov's The Ant Is a Metaphorical Recreation of The Ant" (I think it was probably Aesop). I was heartbroken when I received the paper back with a C- and the t.a. who graded it, when I tried to contest that my analysis was flawless, simply said, "Chekov gives you that with the title. What does it MEAN?" Chopin's names are the same by analogy. Fine, he's created a Waltz that uses the chords in B minor with op.69 (and I'm assuming the no. 2 means it's the second one he's done in this specific combination) (track 6), what does that mean?

Which leaves the listener to define completely what it means to them. Part of the reason I belabor this point so much is that the music did not mean all that much to me. My favorite classical album thus far, Chopin's Greatest Hits (reviewed here!) inspired any number of images and thoughts to pop into my mind. After ten listens to this disc, only two tracks were distinctive enough to stand out.

Track ten, the "Waltz E minor, op. posth." is a fast-moving piece that - while it is never loud - soars up and down the scales, evoking a sense of ascent and descent that is free of labor, effortless, but still somehow important. The other track, "Nocturne C sharp minor, op. 27 no. 2" (track 13) has some of the same elements. There is a strong sense of movement and Vladimir Ashkenazy keeps the pace fast and the sound as rich as it can be considering he is one man at a piano and all of the music is in the upper registers.

Lacking in these pieces are range that I've heard in other works by Chopin. Indeed, these pieces are relegated to the higher keys of the piano and while the two tracks listed above have some speed to them, most do not. In fact, most are quiet, ponderous and inspiring less of the imagination than sleep. Usually when I think of waltzes, I think somewhat faster classical pieces, though several of Chopin's waltzes - at least as performed by Ashkenazy on the first half of this disc are remarkably slow.

I would not recommend this disc for a quiet dinner or romantic evening, it is hardly mood music as it does not engage the listener and inspire imaginations of anything. Instead, it recommends itself well to sleep. Insomniac? Try this!

For those who understand the codes, here is a track listing, though from an objective standpoint, most of these tracks sound alike: they are slow and high. Ashkenazy plays:
(Waltzes) E flat major 'Grande valse brillante,' op. 18
A minor, op.34 no.2
F major, op.34 no.3
A flat major, op42
A flat major, op.69 no.1 [These prior three tracks blend together for one nine minute bit of auditory goo]
B minor, op.69 no.2
G flat major, op.70 no.1
F minor, op.70 no.2
D flat major, op.70 no.3
E minor, op. posth.
(Nocturnes) E flat major, op.9 no.2
F sharp major, op.15 no.2
C sharp minor, op.27 no.1
D flat major, op. 27 no.2
B major, op.32 no.1
A flat major, op.32 no.2
G major, op.37 no.2

While I anticipated, from earlier experiences with Chopin nocturnes, the nocturnes to be slow and sleepy, I did not anticipate the waltzes being that way. Ashkenazy plays the entire album with a largely sleepy, slow and draining affect to the music. While he might well be playing fine, the music is a terrible mix, homogenous and sleepy (not depressing but evoking sleep from the listener). My only note here is that I've slept very well the previous nights, so there's no earthly reason I should fall asleep to this disc, save that that is the reaction it evokes.

The best track is "Waltz E minor, op. posth." I was not fond of the very tiresome (and tiring) "Nocturne D flat major, op.27 no.2."

For other Classical music reviews, please check out my takes on:
Pini Di Roma - Respighi, Eugene Ormandy
The Masterpieces Collection: Grieg Volume 4


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专辑曲目

01. Waltz in E flat major 'Grande valse brillante', op.18 [4:50]
02. Waltz in A minor, op.34 no.2 [4:32]
03. Waltz in F major, op.34 no.3 [2:05]
04. Waltz in A flat major, op.42 [3:23]
05. Waltz in A flat major, op.69 no.1 [3:57]
06. Waltz in B minor, op.69, no.2 [3:40]
07. Waltz in G flat major, op.70 no.1 [2:04]
08. Waltz in F minor, op.70 no.2 [1:43]
09. Waltz in D flat major, op.70 no.3 [2:27]
10. Waltz in E minor, op. posth. [2:36]
11. Nocturne in E flat major, op.9 no.2 [3:59]
12. Nocturne in F sharp major, op.15 no.2 [3:45]
13. Nocturne in C sharp minor, op.27 no.1 [5:27]
14. Nocturne in D flat major, op.27 no.2 [5:47]
15. Nocturne in B major, op.32 no.1 [5:05]
16. Nocturne A flat major, op.32 no.2 [5:43]
17. Nocturne G major, op.37 no.2 [5:46]

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