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John Eliot Gardiner & Philarmonia Orchestra -《格兰杰:勇士 & 霍斯特:行星组曲》(Grainger - The Warriors & Holst - The Planets)SACD 更新FLAC+MP3

  • 状态: 精华资源
  • 摘要:
    古典类型交响曲
    发行时间1995年
  • 时间: 2013/10/31 12:43:09 发布 | 2013/11/01 10:43:03 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Grainger - The Warriors & Holst - The Planets
专辑中文名格兰杰:勇士 & 霍斯特:行星组曲
古典类型交响曲
版本SACD 更新FLAC+MP3
发行时间1995年
地区美国
语言英语
简介

唱片公司: DG
唱片编号: DG 471 634-2
资源出处: 海外沉船打捞

专辑封面:
IPB Image

专辑介绍:

下载这张专辑,肯定首先是为了听行星组曲,虽然最讨厌码字了,但是为了推荐精华。还是说说吧。毕竟听古典的人那么少,了解的就更少了。本着还是希望有人欣赏的原则,我还是多码些吧。

本张CD中,我个人最喜欢的是木星和海王星的演绎。木星是诸多版本中最欢乐,最流畅的。相比起卡拉扬大爷,85年和最新的一版锯木头一样的处理,好太多了。听完之后,你会觉得,雅尼的Santorini和木星比起来弱爆了。(雅尼最喜欢秀自己3X2键盘表演这一章了,我是雅尼黑。)

海王星轻如耳语般的处理,也很好的体现了神秘主义的主题。合唱中的女声,虽然音量较低,但是完全未被其他乐器的音量掩盖。在较低音量的情况下,最难处理的就是乐曲的层次感。Gradiner大爷的海王星,就是围着一层又一层迷雾的神秘主义者。

整张专辑中,第一小提琴也是亮点,在处理上很能进入角色。希望有烧友能挖出来,这个第一小提琴是谁。

再说说指挥,John Eliot Gardiner。

43年生的,这老头还活着,生活很传奇。8岁自学小提琴,然后15岁自学去当指挥,然后又去了剑桥大学,学中世纪西班牙史和阿拉伯史。大学期间,带着牛津剑桥合唱团,去了中东去巡回演出。彻头彻尾的人生赢家。普遍认为这哥们是巴洛克和哥特式的代言人,他指挥巴哈啦,莫扎特一类的德奥音乐拿奖拿到手软。令人意外的就是,这张现代派的勇士+行星组曲,这大哥也演奏的十分流畅。

最后说说,勇士,The Warriors这个曲子。是从一个四幕歌剧改编成的18分钟印象芭蕾舞剧。据说歌剧讲的是圣经故事。无奈,我是宗教白痴,啥也不懂,也说不出啥。本来听名字,觉得是和Mars一样的战神曲,结果听完了,就呵呵了。可能我对勇士的理解太狭隘了。

勇士的作者Percy Grainger,英国到澳洲的移民,擅长写些乡村音乐改编的舞曲。对他我就了解这么多。勇士,算是他呕心沥血,纵其一生英才所改编的,可惜我不是知音了。虽然被叫做imagery ballet,我木耳是没听出来哪里印象派了,应该是电波不对。(印象派请参见德彪西、萨蒂一波人)

以下格兰杰简介,来自 劳瘁 同志的评论。

美国作曲家、钢琴家。1882年7月8日生于澳大利亚的布赖顿(Brighton),父亲是一位著名的建筑师。格兰杰12岁便开始举办巡回音乐会,后至德国接受进一步的钢琴训练并学习作曲。1901-1914年间与妈妈一起移居伦敦,在这里出版了《殖民地歌曲》等作品。在英国,他得到挪威作曲家格里格的帮助,受他的影响,开始搜集和研究英国民间歌曲,同时结交了许多英国和斯堪的那维亚的知名音乐家。1914年,格兰杰移居美国,后来加入美国国籍,并一直在美国渡过了后半生。他曾加入美国军乐队。一次大战后,在各地巡回演出和演讲。
  格兰杰是一位高产的作曲家,一生创作了1200首作品。他所生活的年代正是早期音乐复兴时期,他的创作也带有模仿欧洲古典音乐的特征。但在他的晚年,则发生了明显的变化,开始关注“自由音乐”,即不受时间、音调和音程限制的音乐。他与科学家克罗斯(Burnett Cross)合作研制的“自由音乐机”,可以说是现代电子音乐合成器的先驱。
  格兰杰于1961年2月20日逝世于纽约。后归葬于澳大利亚南部的阿德莱德(Adelaide)。


以下是某个和勇士对了电波的人写的评论。大致是说,勇士很创新,很和谐,很惊世骇俗,震铄古今,行星神马的最讨厌了。

摘自sa-cd.net:
Hyperbole aside, Percy Grainger’s “The Warriors” is quite simply the most inventive, original, brilliant 20th Century orchestral composition you have never heard. Out of the few people who have heard it, half probably blow it off as kitschy fluff. The problem is that Grainger made the music so accessible (or rather so unpretentious), that few listeners realize just how rhythmically and harmonically complex “The Warriors” is. And nearly 100 years later, it’s hard to appreciate how Grainger’s use of percussion instruments was decades ahead of its time, anticipating what Stravinsky, Cage, Adams and others had yet to do.
In brief, “The Warriors” is a fantasy for orchestra in a circular ABABA form (much like the last movement of Ive’s 2nd Symphony), consisting of 15 different themes and motives, with an “orgy” or orchestral colors. At first listen, there is nothing ‘modern’ sounding about the music. It has a neo-romantic flavor that perfectly compliments “The Planets.” To fully appreciate “The Warriors,” you really have to listen carefully.
Grainger is often compared to Ives for his interest in independent off stage brass, independent polyphony and juxtaposing tonalities and rhymes. A notable feature of “The Warriors” is that it requires two to three conductors. This is because in the section following the return of Tempo I, the entire orchestra divides into three subgroups, each playing at a different tempo. The following section features extensive double-chording where “different instrumental groups simultaneously playing different chord passages that pass through, above and below each other and are harmonically independent of each other.” I had to pull that definition since I cannot better explain it. Remarkably, it’s quite easy to miss all of this where as with Ives you cannot. Finally in Ivesian fashion, after a gigantic fanfare, the piece ends in a sudden anticlimax.
What listeners will probably find more interesting than this music theory aspect of the work, is Grainger’s percussion section, which includes xylophone, wooden marimba, glockenspiel, steel marimba (today a vibraphone), staff bells, tubular bells, celesta, and three pianos. Grainger was really the first composer to turn the percussion section into an independent section of the orchestra, making it an equal with strings, brass and winds. The way in which Grainger uses the percussion section to introduce and develop melodic and harmonic ideas was way ahead of its time. While composers in Grainger’s time would follow his lead (Stravinsky, for instance), it’s only recently that composers have begun routinely writing orchestral music that include percussion sections and music for the instruments in the manner of “The Warriors.” Just think of all the extra instruments you see on stage for contemporary compositions compared to almost anything written before 1960. And this percussion section, that resembles a gamelan orchestra, produces sounds that will remind some listeners of John Adams (and others).
Also noteworthy is the treatment of the pianos. They are neither an obbligato part nor ‘filler.’ Instead they are treated like any other instrument in the orchestra.
Oh, there’s more. In the section following the return of Tempo I, listen for the piano being played by marimba mallets striking the strings. Something, you might say, only John Cage would think of (who was born a year before Grainger began composing “The Warriors”).
On top of all of this dribble about harmonics and percussion, “The Warriors” is an exciting, lively piece of music; something we should be regularly hearing as a curtain raiser for gala concerts. And since there is so much going on in the music it, it remains fresh and exciting after dozens of listens. I never just listen to it once, but multiple times.
I believe that “The Warriors” has only been recorded a half dozen times, and I know of only three recordings in print: Hickox (Chandos), Rattle (EMI) and this one. Hickox’s recording benefits from a new critical edition of the score — Grainger was always vague about how many percussion instruments and the types of mallets — but his tempos are often too fast, failing to conjure up the grandeur Rattle and Gardiner manage to. Rattle and Gardiner are near identical in interpretation and performance, though I find things in the transition from “Dance Orgy” to “Climax” get a but mushy under Rattle’s baton. The Philharmonia Orchestra, my favorite of London’s half-dozen or so orchestras, is beyond reproach.
The recorded sound is terrific. I’ve owned the CD version of this recording for many years, only recently upgrading to the SACD due to the disc becoming mysteriously scratched. When comparing the SACD to CD, it becomes clear how DG manipulated the CD to make it sound good on low end systems. The re-mix engineer has eliminated the fake reverb, which I actually thought worked to the music’s advantage (perhaps the surround mix is significantly more reverberant). More importantly, though, is that when compared to the CD, it becomes clear that the CD spotlighted the brass and percussion, giving them an upfront perspective. This has been undone, creating a much more natural sense of depth and position of the instruments. Finally, the SACD also illuminates some compression done to the CD so that listeners wouldn’t have to adjust the volume much. The unaltered SACD stereo layer reveals that DG did an excellent job recording the Philharmonia, perfectly capturing the huge dynamic range of the music.
As for “The Planets,” I’ve never been a fan of it, but I suppose it receives a first rate performance, but I don’t expect it to displace any personal favorites.
Enthusiastically Recommended.

以上原创,欢迎转载,请注明出处!

盘面:
IPB Image

总结:

古典入门曲目!

最经典的行星组曲,企鹅三星!

星球大战的灵感之源!

完美的木星乐章演奏,卡拉扬大爷自愧不如,雅尼跪舔。
24bit,88.2khz,超高SACD音质!






2013.11.4 今天终于干翻了电信光猫,有了HighID,好心人们,赶紧挂下来吧!

小水管做种一个月。

如果觉得慢的话,以下是网盘地址。

下载完一部分后,要清空cookies和cache才能继续下载。




要两个都下载才能完全解压

http://lumfile.com/yi5pylfk2c3f/GardinerGr...rar.html

http://lumfile.com/be0vip5oo3if/GardinerGr...rar.html

度娘盘:

链接:http://pan.baidu.com/share/link?shareid=979634514&uk=1728415208 密码:nv6x


文件:
IPB Image



专辑曲目

Tracklist:
Percy Grainger – Warriors
01. The Warriors: Vivace (Tempo I) – Lento (Tempo II) – Tempo I – Lento, poco più mosso – A tempo, pochissimo meno – Tempo I (Dance orgy) – Lento: molto maestoso (Climax) – Presto (Dance orgy)
Gustav Holst – The Planets
02. The Planets: Mars, the Bringer of War. Allegro
03. The Planets: Venus, the Bringer of Peace. Adagio – Andante – Animato – Tempo I
04. The Planets: Mercury, the Winged Messenger. Vivace
05. The Planets: Jupiter, the Bringer of Jollity. Allegro giocoso – Andante maestoso – Tempo I – Maestoso – Lento maestoso – Presto
06. The Planets: Saturn, the Bringer of Old Age. Adagio – Andante
07. The Planets: Uranus, the Magician. Allegro – Lento – Allegro – Largo
08. The Planets: Neptune, the Mystic. Andante – Allegretto

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