Nikolaus Harnoncourt -《舒曼 - 第1和第2交响曲》(Schumann - Symphony No.1 & 2 )[FLAC]

专辑英文名: Schumann - Symphony No.1 & 2
专辑中文名: 舒曼 - 第1和第2交响曲
艺术家: Nikolaus Harnoncourt
古典类型: 交响曲
资源格式: FLAC
地区: 美国
语言: 英语
简介: 
专辑介绍:
Nikolaus Harnoncourt (哈农库特)
舒曼的想像力，带有一种浪漫时代的特质，就筑基在E．T．A霍夫曼和尚保罗这两位浪漫文学家的奇幻世界中，他不时从文学和诗词的世界中借取灵感和意念，也难怪，他在一八四一年二月间完成的第一号交响曲，会有那么充满标题性色彩的来历。据克拉拉所言，这部作品最初是有感於阿道夫布特格所写的一首春日诗而来，原先每个乐章开头还都带有一段具描述性的标题，后来舒曼将这些标题删去，因为他不想这些标题误导了人们，不把这首交响曲视为同於贝多芬体制的纯粹音乐。至於第四号交响曲则在他完成第一号不久，并於当年九月十三日献给妻子克拉拉当作生日礼物，不过在一八五一年又经过大幅修订，照理此曲应该是第二号交响曲，却因为这次修订，而变成了第四号交响曲。之后舒曼一度精神崩溃，因此中断了交响曲写作四年，一直到一八四五年才恢复创作，这就是被列为第二号交响曲的作品，此曲创作过程中，舒曼一直抱怨听到声音，但其实是他的幻听，因此可以说是他所有作品中最有他精神失常特质的一部作品。舒曼最后一部完成的交响曲，是后来被人称为「莱茵」的第三号交响曲，是舒曼献给他祖国、描绘莱茵河畔悠久历史和旖旎风光的杰作。
瑞士法语区管弦乐团成立至今即将届满一百年，该团成立的前五十年都是由创办人安塞美担任指挥和总监，但因为二战期间许多欧洲一流乐手避居此地，包括福特万格勒等人，因此吸收了邻近德国和法国非常优秀的演奏传统。本片指挥乔登是在一九八五到九七年间担任其总监，接替了前一任的大师霍斯特史坦，刚在零六年以七四岁过世的他，本身就是瑞士人，但以詮释德国浪漫曲目、尤其是华格纳闻名，这也是为什么他会在一九九零年被ERATO相中灌录这份录音的原因。这份录音也是瑞士法语区管弦乐团希望藉助乔登之手，让他们甩掉一向被人与法国音乐联想在一起的包袱。
引用Audio CD (July 2, 1996)
SPARS Code: DDD
Number of Discs: 1
Label: Elektra / Wea
ASIN: B000000SQW
Average Customer Review: 4.7 out of 5 stars
5.0 out of 5 starsMagnificent! - get it!
BySIon May 14, 2008
Format: Audio CD|Verified Purchase
I came to Schumann's symphonies late (not the Spring, which I listened to and loved in a viscerally exciting performance by conductor-whose-name-escapes-me) via Kubelik's wonderfully crafted Munich set. I've been particularly interested in the 2nd symphony in the last few months because it seems to me a work that is forever skirting the penumbra of greatness. Frustratingly, I could not fathom why. Was it perhaps because the adagio takes such expression that it wrenches itself away from the rest of the symphony, and leaves what remains poorer? And why is that brilliantly enigmatic scherzo so fragmentary, somehow incomplete?
Chamber Orchestra of Europe
Biography
The Chamber Orchestra of Europe is one of the top smaller orchestral ensembles in the world. It was formed in 1981 by a group of young professional musicians based in Europe. At that time an international trend was developing to establish permanent orchestras of between 30 and 60 members, smaller than the usual symphony orchestra, but the right size to play many Classical- and Baroque-era works and numerous works for smaller orchestras composed in the twentieth century. Although many of the founding members have gone on to important positions in standard orchestras and prominence as solo artists, most of them have remained with the COE since then. The orchestra's schedule usually calls for 150 days a year of commitment, including rehearsals, appearances at major music festivals, individual concerts, and limited tours (mostly in Europe, but sometimes to North America and Japan). The orchestra is a self-governing organization. Its 50 members elect, annually, a four-man executive committee, who are responsible for business and artistic management of the COE, together with a chairman and general manager. There is no principal conductor, music director, or artistic adviser. Instead, its members bring their widely diverse backgrounds to their gatherings and make suggestions as to repertory. The COE, however, commonly performs with a conductor. A stellar array of maestros have led them. The ones most closely linked to them are Claudio Abbado and Nikolas Harnoncourt (who have recorded a Schubert and a Beethoven symphony cycle, respectively, with the COE). However, other famous conductors, including Pierre Boulez, Christoph Eschenbach, Heinz Holliger, Paavo Berglund, Edo de Waart, and Herbert Blomstedt, have appeared on the COE's podium, in just one typical year. The COE records frequently and won Gramophone Record of the Year awards three times, for the above-mentioned Beethoven and Schubert cycles and for their work on Abbado's recording of Rossini's Il viaggio à Reims. It is not identified with a particular city, but has a working relationship with a number of orchestras and rehearsal-performance venues, including the Kammermusiksaal der Philharmonie in Berlin, Ferrara Musica in Italy, the Alte Oper in Frankfurt, and the Styriarte Festival in Graz and the Salzburg Festival, where the members often assemble to work and perform.
I use up so many words because this present recording like few I have heard lifted the veil from over my eyes. This is a dazzlingly illuminating performance of the second (I have not yet heard the first, so cannot comment). Harnoncourt's performances are most usually reviewed in terms of cliches (breathless, idiosyncratic, eccentric, tautly performed, etc, etc). Banish all that! I can only say that this is a great feat of intellectual vision. Harnoncourt brings a profound insight and artistic conception to this work. It is, of course, played with deep commitment and understanding by this vastly under-rated orchestra.
专辑曲目: 
1. Symphony No.1 in B flat major Op.38, 'Spring' : I Andante, un poco maestoso - Allegro molto vivace
2. Symphony No.1 in B flat major Op.38, 'Spring' : II Larghetto
3. Symphony No.1 in B flat major Op.38, 'Spring' : III Scherzo - Molto vivace
4. Symphony No.1 in B flat major Op.38, 'Spring' : IV Allegro animato e grazioso
5. Symphony No.2 in C major Op.61 : I Sostenuto assai
6. Symphony No.2 in C major Op.61 : II Allegro vivace
7. Symphony No.2 in C major Op.61 : III Adagio espressivo
8. Symphony No.2 in C major Op.61 : IV Allegro molto vivace
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