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Simon Rattle -《本杰明·布里顿:启示, 小夜曲, 夜曲》(Britten - Serenade, Illuminations, Nocturne)[APE]

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  • 摘要:
    古典类型室内乐
    发行时间2005年
  • 时间: 2014/06/28 22:03:09 发布 | 2014/06/29 21:31:34 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Britten - Serenade, Illuminations, Nocturne
专辑中文名本杰明·布里顿:启示, 小夜曲, 夜曲
艺术家Simon Rattle
古典类型室内乐
资源格式APE
发行时间2005年
地区英国
语言英语
简介

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作曲:Benjamin Britten
指挥:Simon Rattle
歌唱家:Ian Bostridge (tenor)
演奏家:Radek Baborák (horn)
乐团: Berlin Philharmonic Orchestra
录音日期:2005
发行公司:EMI Classics
资源出处:电驴搜索
购买链接:亚马逊

专辑介绍:

作曲者简介:
爱德华·本杰明·布里顿,布里顿男爵,OM,CH(英语:Edward Benjamin Britten, Baron Britten,1913年11月22日-1976年12月4日),英国作曲家、指挥家和钢琴演奏家,他是20世纪古典音乐的重要人物。也被认为是英国最伟大的作曲家之一。由于他的出生日和相传掌管音乐的主保圣人圣西西里亚(Saint Cecilla)的圣日相同,因此有人认为他有过人的音乐才华是上天所赋于的。
布里顿生于英国东南沿海萨福克郡洛斯托夫特小镇(Lowestoft),父亲是一名牙医,也是一位有才华的业余音乐爱好者,母亲是一位优秀的业余女高音,他曾随母学习钢琴。布里顿在二战期间与彼得·皮尔斯(Peter Pears)产生恋情并长期同居,是当时艺术圈半公开的同志。
布烈顿的乐曲种类算多样化,而他的歌唱类作品(不论是歌剧、合唱曲、独唱曲还是宗教合唱)及管弦乐配器都是被公认为相当出色的。这与他的合作伙伴及亲密伙伴彼得·皮尔斯甚有关连,皮尔斯不但为布烈顿提供了大量创作灵感,亦是作为他各类型歌唱作品首演的演唱者。布烈顿所完成的13出歌剧,除了第1出《保罗·班扬》(或译作《吹牛大王》)外,其他所有的男高音主角都是由皮尔斯所担任。同时,由于布烈顿自少已在教会中献唱,因此亦创作出不少具水平的宗教合唱作品。
布烈顿的代表作为数不少,大致可按早、中、后期创作来划份。早期的代表作有《简单交响曲》(Simple Symphony)、《弗兰克·布里奇主题变奏曲》(Variations on a Theme of Frank Bridge)、《灵光集》、《交响安魂曲》(Sinfonia da Requiem)、《圣诞颂歌》、为男高音、圆号和弦乐团所写的《小夜曲》等;中期则有《彼得·格林》等多部歌剧、《青少年管弦乐队指南》、为男高音、7件独奏乐器和弦乐团所写的《夜曲》、《战争安魂曲》等,晚期代表作则有为大提琴家罗斯卓波维契所写的《大提琴交响曲》、第2,3号大提琴组曲,以及多首以圣经内容为题裁的教会寓言剧...[更多介绍]

文章摘引:维基百科



Les Illuminations 启示 (又译:灵光集), song cycle for high voice & strings, Op. 18
布里顿于1939年3月在萨福克开始创作《灵光集》,之后同皮尔斯去美国,同年10月25日在美国完成这部作品。为高音和弦乐团而作的《灵光集》是根据法国诗人阿瑟 兰波著名诗集《灵光集》中的部分诗歌创作而成。这些法语诗歌中的叙述性描写极少,并去掉了诗词的语义和逻辑内容,富于创新的魔力,具有朦胧的象征主义风格。共10首歌曲。

Serenade 小夜曲, for tenor, horn & strings, Op. 31
1943年夏,布里顿完成了为男高音,圆号和弦乐团而作的《小夜曲》,并将作品献给两位音乐天才,男高音歌唱家皮尔斯和圆号演奏家丹尼斯 布瑞恩。这部作品是布里顿第一次选用相似主题的诗歌组成套曲,这些诗都充满了关于夜晚、月光、恐惧的意象以及那些从未敢正面展示的自己的想象。作品采用一个号角配合弦乐团这样色彩极为丰富的手法创作。圆号奏出极为自然的和声,好似遥远天籁的号角。这部写于二战期间的著名作品,既是布里顿音乐创作中完美极致的代表,又是一个焦虑与疑惑时代的有力象征。《小夜曲》由包括圆号独奏的序曲和尾奏在内的8首音乐组成。

Nocturne 夜曲, for tenor, seven obbligato instruments and strings, Op. 60
1958年夏,布里顿为利兹音乐节(Leeds Festival)百年纪念创作了男高音,七件独奏乐器和弦乐团的声乐套曲《夜曲》。这套作品与《小夜曲》相似,都选择了月夜、睡眠、梦境的题材。作品除男高音独唱外,每首乐曲选择不同的独奏乐器,呈现出不同的音色效果,而最后一首为所有乐器的合奏,以将作品推向高潮。这种采用不同乐器为艺术歌曲助奏的写法,体现出这一时期乐队歌曲于古典艺术歌曲不同的音乐魅力。共8首歌曲。

文章来源

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It is impossible to hear this music without remembering tenor Peter Pears, Britten's lifelong companion, but Bostridge does his best to make us forget him with singing of unearthly beauty and with probing interpretations.

Bostridge, Rattle, and the Berlin Philharmonic performed these three song-cycles at the Salzburg Easter Festival and recorded them soon after in Berlin. Bostridge is no newcomer to Britten's music. In 1994, his operatic debut was as Lysander in A Midsummer Night's Dream. A few years later, he recorded the Serenade for tenor, horn, and strings with Daniel Harding (also released on EMI), along with Our Hunting Fathers. Why he chose to make a second recording of this work in so short a time probably has to do with the intensity of his musical relationship with Rattle, and with his increasing maturity as a singer.

Pears did not have the most conventionally beautiful voice, particularly when he got around to recording these works in stereo. His voice and manner of using it were so characteristic that sometimes the song threatened to disappear behind the enormous presence of the singer. (This probably sounds worse than it actually was. Dietrich Fischer-Dieskau's and Elisabeth Schwarzkopf's singing make a similar impression on me.) Bostridge has been gifted with an instrument that is more capable of alluring the listener, and furthermore, he can make himself "disappear" more readily than Pears, all the better to reveal the music in all its beauty.

Both Pears and Bostridge are excellent with words and their significance. Diction is clear – at times, almost exaggerated with Bostridge, who sings the final consonant of "sick" in the phrase, "O Rose, thou art sick," with such emphasis that one wonders what the Rose did to poor Ian to upset him so! Bostridge also carries the search for meaning one step farther than Pears; not a single word is left unexamined and imprinted in some way. What keeps this from seeming precious, however, is Bostridge's willingness to throw caution to the winds. The words "Sleep no more" at the end of Wordsworth's "But that night when on my bed I lay" are arrestingly shouted out, so much so that listeners inclined to nervousness surely will spill their coffee. It works though – the beauty of Bostridge's singing and his avoidance of anything that smacks of primness make his reading of the Nocturne preferable even to Pears's, heretical as saying so might be. Rattle evokes gorgeous sonorities from his musicians, especially in the obbligato contributions to the Nocturne. Having said that, Britten's conducting was more energetic and forthright than Rattle's. I also don't find Radek Baborák to be nearly as colorful and characterful as Dennis Brain or Barry Tuckwell, who appear on the two Britten/Pears recordings of the Serenade.

The engineering is excellent, and sung texts are included in the booklet. Another attraction of this issue is the interesting and personal booklet note by Bostridge himself.

Copyright © 2005, Raymond Tuttle
文章来源:classical.net



曲目试听:
08.Les Illuminations, Op.18 - VII. Being Beauteous (4:03)




感谢原发布者!!


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仅作试听,请勿用于商业用途。喜欢这张专辑,请购买正版。
曲目比较生僻,刚开始上传速度较慢,本人做源至少1年。



专辑曲目

1. Les Illuminations, Op.18: I. Fanfare
2. Les Illuminations, Op.18: II. Villes
3. Les Illuminations, Op.18: IIIa. Phrase
4. Les Illuminations, Op.18: IIIb. Antique
5. Les Illuminations, Op.18: IV. Royauté
6. Les Illuminations, Op.18: V. Marine
7. Les Illuminations, Op.18: VI. Interlude
8. Les Illuminations, Op.18: VII. Being Beauteous
9. Les Illuminations, Op.18: VIII. Parade
10. Les Illuminations, Op.18: IX. Départ
11. Serenade for tenor, horn and strings, Op.31 (1943): Prologue
12. Serenade for tenor, horn and strings, Op.31 (1943): Pastoral (Charles Cotton)
13. Serenade for tenor, horn and strings, Op.31 (1943): Nocturne (Alfred, Lord Tennyson)
14. Serenade for tenor, horn and strings, Op.31 (1943): Elegy (William Blake)
15. Serenade for tenor, horn and strings, Op.31 (1943): Dirge (anon. 15th century)
16. Serenade for tenor, horn and strings, Op.31 (1943): Hymn (Ben Jonson)
17. Serenade for tenor, horn and strings, Op.31 (1943): Sonnet (John Keats)
18. Serenade for tenor, horn and strings, Op.31 (1943): Epilogue
19. Nocturne, Op.60 (1958): Prometheus Unbound (Shelley)
20. Nocturne, Op.60 (1958): The Kraken (Tennyson)
21. Nocturne, Op.60 (1958): The Wanderings of Cain (Coleridge)
22. Nocturne, Op.60 (1958): Blurt, Master Constable (Middleton)
23. Nocturne, Op.60 (1958): The Prelude (1805) (Wordsworth)
24. Nocturne, Op.60 (1958): The Kind Ghosts (Owen)
25. Nocturne, Op.60 (1958): Sleep and Poetry (Keats)
26. Nocturne, Op.60 (1958): Sonnet 43 (Shakespeare)

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