07-弗里茨·莱纳与芝加哥交响乐团 - 《贝多芬交响曲及〈科里奥兰〉序曲》（2018年）
07-弗里茨·莱纳与芝加哥交响乐团 - 《贝多芬交响曲及〈科里奥兰〉序曲》（2018年）
艺术家：弗里茨·莱纳（Fritz Reiner）、芝加哥交响乐团（Chicago Symphony Orchestra）
曲目：《贝多芬：交响曲；<费德里奥>及<科里奥兰>序曲》（Beethoven: Symphonies; Fidelio & Coriolan overtures）
发行年份：2018年
厂牌：美国无线电公司（RCA）/贝图斯·曼海姆集团（BMG）
音乐类型：古典音乐
音质：DSD64格式镜像文件（*.iso），2.0声道
总时长：3小时30分40秒
总大小：8.48GB
网站：专辑预览
曲目列表：
超级音频光盘1（SACD1）
A大调第七交响曲，作品92号
01] 第一乐章：稍慢板 - 活泼的快板
02] 第二乐章：小快板
03] 第三乐章：急板 - 稍慢的急板
04] 第四乐章：有活力的快板
05] 《费德里奥》，作品72号：序曲
c小调第五交响曲，作品67号
06] 第一乐章：有活力的快板
07] 第二乐章：有生气的行板
08] 第三乐章：谐谑曲 - 快板（紧接）
09] 第四乐章：快板
10] 《科里奥兰》序曲，作品62号
超级音频光盘2（SACD2）
F大调第六交响曲，作品68号 “田园”
01] 第一乐章：不过分的快板
02] 第二乐章：很有生气的行板
03] 第三乐章：快板（紧接）
04] 第四乐章：快板（紧接）
05] 第五乐章：小快板
C大调第一交响曲，作品21号
06] 第一乐章：很慢的柔板 - 有活力的快板
07] 第二乐章：有生气的如歌的行板
08] 第三乐章：小步舞曲，有生气的快板
09] 第四乐章：终曲，柔板 - 非常活泼的快板
超级音频光盘3（SACD3）
d小调第九交响曲，作品125号 “合唱”
01] 第一乐章：不过分的快板，稍庄严的
02] 第二乐章：十分活泼的
03] 第三乐章：很慢的如歌的柔板 - 中速的行板
04] 第四乐章：终曲 - 很快的快板 - 宣叙调：“哦，欢乐，不是这些音符！” - 很快的快板
弗里茨·莱纳是指挥家中的传奇人物。他的音乐造诣广受赞誉，但其咄咄逼人和严苛的脾气却普遍不招人喜欢。他留下了一系列堪称典范的录音作品，在很大程度上推动了芝加哥交响乐团在艺术上的崛起，并对几代音乐家产生了深远的影响。
莱纳1888年出生于布达佩斯，他跟随母亲学习钢琴，15岁时进入弗朗茨·李斯特音乐学院—— 这所学院还培养出了贝拉·巴托克、佐尔坦·科达伊、恩斯特·冯·多纳伊、乔治·塞尔、尤金·奥曼迪、乔治·索尔蒂和安塔尔·多拉蒂等杰出人才。在最终于1911年回到布达佩斯，任职于该市的人民歌剧院之前，莱纳在一些地方歌剧院积累了指挥经验，在那里，他作为一名极具天赋的指挥家的声誉终于得以彰显。
1914年，莱纳接受了德累斯顿宫廷歌剧院的一个职位，在那里，他与指挥家阿瑟·尼基什和作曲家理查德·施特劳斯建立了幸运的合作关系；莱纳最终在德国首演了施特劳斯的《没有影子的女人》，并且在其整个职业生涯中一直是这位作曲家作品的忠实诠释者。第一次世界大战后出现的经济混乱和日益抬头的反犹主义让莱纳急切地想要离开欧洲，而1921年收到的担任辛辛那提交响乐团音乐总监的邀请正好提供了合适的机会。从那时起，莱纳的职业生涯就牢牢扎根于美国，他于1928年成为美国公民。
辞去辛辛那提的职位后，莱纳成为费城柯蒂斯音乐学院的指挥教授，他的学生包括年轻的伦纳德·伯恩斯坦和卢卡斯·福斯；尤其值得一提的是，伯恩斯坦认为莱纳对他的成长影响深远。
1938年，他成为匹兹堡交响乐团的指挥—— 这是他担任的多个职位之一，这些经历让莱纳成为了一位优秀的乐团组建者，他具备引领乐团达到更高水准和取得更大成功的才能。莱纳的许多知名录音都出自他在匹兹堡任职期间。在匹兹堡的那些年里，他还曾在科文特花园皇家歌剧院和旧金山交响乐团客串指挥。离开匹兹堡后，他前往大都会歌剧院任职，在那里一直担任指挥直至1953年；他在大都会歌剧院大力推广施特劳斯的歌剧，他指挥的《莎乐美》和《厄勒克特拉》的演出成为大都会歌剧院历史上最令人难忘的夜晚之一。
1953年对莱纳来说是具有分水岭意义的一年，因为就在那一年他担任了芝加哥交响乐团的指挥。这成为了他标志性的合作，也奠定了他不朽的音乐遗产。他与乐团的关系从来都不是一帆风顺的—— 他以在排练时的粗暴和不耐烦以及在音乐会上因乐手犯错就解雇他们而闻名—— 但无可否认的是，他将这个乐团从一个优秀的美国乐团提升到了世界顶级乐团的行列。与其他一些在音乐经典作品的特定领域表现出色的著名指挥家不同，莱纳在极为广泛的作品领域中都保持着卓越的水准和清晰精准的演绎，跨越了国籍和风格的界限。他因指挥新作品而闻名，比如巴托克的《乐队协奏曲》—— 这部作品是莱纳本人在巴托克临终前委托他创作的—— 以及阿兰·霍夫哈内斯的《神秘的山》，就如同他因指挥马勒、施特劳斯和海顿的作品而闻名一样。他在芝加哥任职期间还录制了数量空前的优秀唱片，其中一些至今仍是乐迷的最爱，尽管现代录音在音质保真度上更胜一筹。1962年，莱纳从芝加哥交响乐团辞职（仅仅九个乐季之后），次年因心力衰竭去世。~ 艾伦·施罗特
Artist: Fritz Reiner, Chicago Symphony Orchestra
Title: Beethoven: Symphonies; Fidelio & Coriolan overtures
Year Of Release: 2018
Label: RCA / BMG
Genre: Classical
Quality: DSD64 image (*.iso) 2.0
Total Time: 3:30:40
Total Size: 8.48 GB
WebSite: Album Preview
Tracklist:
SACD1
Symphony No. 7 in A Major, Op. 92
01] I. Poco sostenuto - Vivace
02] II. Allegretto
03] III. Presto - Presto meno assai
04] IV. Allegro con brio
05] Fidelio, Op. 72: Overture
Symphony No. 5 in C Minor, Op. 67
06] I. Allegro con brio
07] II. Andante con moto
08] III. Scherzo - Allegro (attacca:)
09] IV. Allegro
10] Coriolan Overture, Op. 62
SACD2
Symphony No. 6 in F Major, Op. 68 "Pastoral"
01] I. Allegro non troppo
02] II. Andante molto moto
03] III. Allegro (attacca:)
04] IV. Allegro (attacca:)
05] V. Allegretto
Symphony No. 1 in C Major, Op. 21
06] I. Adagio molto - Allegro con brio
07] II. Andante cantabile con moto
08] III. Menuetto. Allegro con moto
09] IV. Finale. Adagio - Allegro molto e vivace
SACD3
Symphony No. 9 in D Minor, Op. 125 "Choral"
01] I. Allegro ma non troppo, un poco maestoso
02] II. Molto vivace
03] III. Adagio molto e cantabile - Andante moderato
04] IV. Finale - Allegro assai - Recitativo: "O Freude, nicht diese Tone ! - Allegro assai
Fritz Reiner was a legend among conductors. Universally admired for his music-making, widely disliked for his aggressive and exacting temperament, and survived by a legacy of definitive recorded performances, he was largely responsible for the artistic ascendancy of the Chicago Symphony Orchestra, and exerted considerable influence on generations of musicians.
Born in Budapest in 1888, he studied piano with his mother and, at the age of 15, entered the Franz Liszt Academy -- an institution that also boasts Bela Bartók, Zoltan Kodály, Ernst von Dohnányi, George Szell, Eugene Ormandy, Georg Solti and Antal Dorati as graduates. Reiner gained conducting experience at a number of regional opera houses before eventually returning to Budapest in 1911 to serve at the city's Volksoper, where his reputation as a conductor of special abilities finally emerged.
In 1914 Reiner accepted a position at the Dresden Court Opera, where he formed a fortuitous relationship with both the conductor Arthur Nikisch and the composer Richard Strauss; Reiner would eventually give the German premier of Strauss' Die Frau ohne Schatten, and would remain a devoted interpreter of the composer's works throughout his career. The economic chaos and emergent anti-Semitism that followed the First World War made Reiner anxious to leave Europe, and an invitation (in 1921) to become the music director of the Cincinnati Symphony Orchestra provided just the right opportunity. From that point onward, Reiner's career was firmly rooted in the United States, where he became a citizen in 1928.
After resigning his post at Cincinnati Reiner became a professor of conducting at the Curtis Institute of Music in Philadelphia, where his students included both the young Leonard Bernstein and Lukas Foss; Bernstein, in particular, credited Reiner with a great deal of influence in his development.
In 1938 he became the director of the Pittsburgh Symphony -- one of several positions that established Reiner as a fine builder of orchestras, with a talent for steering ensembles toward new levels of quality and success. A number of Reiner's well-known recordings stem from his tenure there. Guest appearances during his Pittsburgh years include those at Covent Garden and the San Francisco Symphony. From Pittsburgh he moved to the Metropolitan opera, where he remained on the conductor roster until 1953; his advocacy of Strauss' operas was especially strong there, and his performances of Salome and Elektra number among the most memorable evenings in the Met's history.
1953 was a watershed year for Reiner, since it was then that he assumed the directorship of the Chicago Symphony Orchestra. This was to become his signature partnership, and the position that would establish his lasting legacy. His relationship with the orchestra was never a smooth one -- he was known for hostility and impatience in rehearsal, and for firing musicians for mistakes in concerts -- but he undeniably raised the ensemble from its status as a good American orchestra to that of one of the finest in the world. Unlike a number of other prominent conductors who excelled in narrow corners of the musical canon, Reiner maintained his excellent standards and clarifying precision throughout an especially broad repertory that crossed boundaries of nationality and style. He was as renowned for his performances of new works, such as Bartók's Concerto for Orchestra -- a piece that Reiner himself commissioned from the dying composer -- and Alan Hovhaness' Mysterious Mountain as he was for his Mahler, Strauss and Haydn. His tenure in Chicago also resulted in what was then an unprecedented volume of fine recordings, some of which still remain as favorites, despite the improved fidelity of modern competitors. Reiner resigned from Chicago in 1962 (after only nine seasons), and died the following year of heart failure. ~ Allen Schrott
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