12-埃米莉·贝农、BBC威尔士国家管弦乐团《英国长笛协奏曲》2012年，Hi-Res
艺术家：埃米莉·贝农、BBC威尔士国家管弦乐团、布拉姆韦尔·托维
专辑名称：《英国长笛协奏曲》
发行年份：2012年
厂牌：钱德斯唱片公司（Chandos）
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 96.0千赫兹 + 小册子
总时长：1小时17分26秒
总大小：307兆字节 / 1.28吉字节
网站：专辑预览
曲目列表
01. 《魔笛舞曲》（乔纳森·多夫）：第一部分 轻盈——试探性地，逐渐加快且更加大胆
02. 《魔笛舞曲》（乔纳森·多夫）：第二部分 （华彩乐段）——宽广的，热烈的——轻柔地（速度加倍）——富有动感，但带着哀伤
03. 《魔笛舞曲》（乔纳森·多夫）：第三部分 愤怒的——凄凉的——轻柔地移动
04. 《魔笛舞曲》（乔纳森·多夫）：第四部分 缓慢——稍作停顿——向前推进——稍快一点
05. 《魔笛舞曲》（乔纳森·多夫）：第四部分 活泼的——着迷的
06. 《长笛与八件管乐器协奏曲》（由J. 麦凯布改编）（威廉·阿尔文）：第一乐章 有节奏的快板
07. 《长笛与八件管乐器协奏曲》（由J. 麦凯布改编）（威廉·阿尔文）：第二乐章 诙谐的小快板
08. 《长笛与八件管乐器协奏曲》（由J. 麦凯布改编）（威廉·阿尔文）：第三乐章 绵延且单纯的行板
09. 《长笛与八件管乐器协奏曲》（由J. 麦凯布改编）（威廉·阿尔文）：第四乐章 活泼的快板
10. 《长笛奏鸣曲》，FP 164（由L. 伯克利改编为长笛与管弦乐队版本）（弗朗西斯·普朗克）：第一乐章 忧郁的快板——稍快一点——回原速
11. 《长笛奏鸣曲》，FP 164（由L. 伯克利改编为长笛与管弦乐队版本）（弗朗西斯·普朗克）：第二乐章 抒情曲：相当慢——更活泼些
12. 《长笛奏鸣曲》，FP 164（由L. 伯克利改编为长笛与管弦乐队版本）（弗朗西斯·普朗克）：第三乐章 嬉戏的急板——突然更慢——回原速（急板）
13. 《长笛协奏曲》，作品36号（伦诺克斯·伯克利）：第一乐章 中板的快板——华彩乐段——行板——稍慢一点
14. 《长笛协奏曲》，作品36号（伦诺克斯·伯克利）：第二乐章 急板
15. 《长笛协奏曲》，作品36号（伦诺克斯·伯克利）：第三乐章 柔板
16. 《长笛协奏曲》，作品36号（伦诺克斯·伯克利）：第四乐章 活泼的快板——稍慢——回原速
威尔士长笛演奏家埃米莉·贝农在BBC威尔士国家管弦乐团以及布拉姆韦尔·托维的伴奏下，演奏了一系列英国长笛协奏曲。贝农是阿姆斯特丹皇家音乐厅管弦乐团的首席长笛手。她既能在管弦乐队前方作为独奏家出色表现，也能很好地融入乐队之中。此外，她还曾与多个BBC管弦乐团、爱乐乐团、日本广播协会交响乐团，以及维也纳、布拉格、荷兰和英国室内乐团等合作担任独奏。
伦诺克斯·伯克利爵士是20世纪中期英国的杰出作曲家之一，他热爱法国文化，其音乐作品展现出清晰、精炼与优雅的特质。他于1952年创作并献给约翰·弗朗西斯的《长笛协奏曲》，充分体现了这些品质，同时也展现出在他战后作品中愈发显著的抒情性。这部作品的配器包括两支双簧管、两支大管、两支圆号、定音鼓和弦乐器。
1976年，伯克利承担了一项艰巨的任务，即把普朗克的《长笛与钢琴奏鸣曲》中的钢琴部分改编为管弦乐版本。从他的日记记录中可知，伯克利预料到这项任务会很困难，而他选择在管弦乐改编中不加入和声乐器，这或许让任务变得更加艰巨。不过最终，他巧妙地运用了所选的乐器。例如，在开头部分，钢琴部分被移至相互交织的单簧管和大管上；在中间部分，原本钢琴的厚重感先由弦乐器替代，随后由整个管弦乐队呈现。
威廉·阿尔文在75岁时，正考虑放弃作曲，此时英国室内乐团管乐合奏团邀请他为其创作一首作品。这部《长笛与管乐器协奏曲》于1980年完成。2006年，应威廉·阿尔文基金会的要求，约翰·麦凯布将其改编为长笛与完整管弦乐队版本，即本张唱片中收录的版本。
乔纳森·多夫的《魔笛舞曲》大致基于莫扎特的歌剧创作，是应青年音乐会艺术家信托基金和埃米莉·贝农的委约而作。多夫对这部作品的故事情节解释如下：“在莫扎特的歌剧结尾，那支魔笛怎么样了呢？塔米诺把它还给那三位女士了吗？它是不是被遗忘在柜子后面的一个盒子里了呢？又或者，它会跑出来跳舞，独自唱着塔米诺的冒险故事？当埃米莉·贝农请我创作一首与莫扎特有些关联的协奏曲时，我觉得这或许是一个让长笛从盒子里‘解放’出来的好机会。”
Artist: Emily Beynon, BBC National Orchestra of Wales, Bramwell Tovey
Title: British Flute Concertos
Year Of Release: 2012
Label: Chandos
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:17:26
Total Size: 307 mb / 1.28 gb
WebSite: Album Preview
Tracklist
01. The Magic Flute Dances (Jonathan Dove): I. Light – Tentative, getting faster and bolder
02. The Magic Flute Dances (Jonathan Dove): II. (Cadenza) – Expansive, rapturous – Gently (twice as fast) – With movement, but plaintive
03. The Magic Flute Dances (Jonathan Dove): III. Angry – Desolate – Gently moving
04. The Magic Flute Dances (Jonathan Dove): IV. Slow – A little held back – Moving forward – Poco più mosso
05. The Magic Flute Dances (Jonathan Dove): IV. Lively – Entranced
06. Concerto for Flute and 8 Wind Instruments (arr. J. McCabe) (William Alwyn): I. Allegro ritmico
07. Concerto for Flute and 8 Wind Instruments (arr. J. McCabe) (William Alwyn): II. Allegretto scherzando
08. Concerto for Flute and 8 Wind Instruments (arr. J. McCabe) (William Alwyn): III. Andante sostenuto e semplice
09. Concerto for Flute and 8 Wind Instruments (arr. J. McCabe) (William Alwyn): IV. Allegro vivace
10. Flute Sonata, FP 164 (arr. L. Berkeley for flute and orchestra) (Francis Poulenc): I. Allegro malincolico - Un peu plus vite - Tempo I
11. Flute Sonata, FP 164 (arr. L. Berkeley for flute and orchestra) (Francis Poulenc): II. Cantilena: Assez lent - Più vivo
12. Flute Sonata, FP 164 (arr. L. Berkeley for flute and orchestra) (Francis Poulenc): III. Presto giocoso - Subito più lento - Tempo I (Presto)
13. Flute Concerto, Op. 36 (Lennox Berkeley): I. Allegro moderato - Cadenza - Andante - Un poco più lento
14. Flute Concerto, Op. 36 (Lennox Berkeley): II. Presto
15. Flute Concerto, Op. 36 (Lennox Berkeley): III. Adagio
16. Flute Concerto, Op. 36 (Lennox Berkeley): IV. Allegro vivace – Meno vivo – Tempo I
The Welsh flautist Emily Beynon plays a selection of British flute concertos, accompanied by the BBC National Orchestra of Wales and Bramwell Tovey. Beynon is the Principal Flute of the Royal Concertgebouw Orchestra in Amsterdam. Equally at home in front of the orchestra as in its midst, she has also performed as soloist with, amongst others, several BBC Orchestras, the Philharmonia Orchestra, NHK Symphony, and the Vienna, Prague, Netherlands and English Chamber orchestras.
Sir Lennox Berkeley was one of the leading British composers of the mid-twentieth century, a Francophile who brought to his music clarity, economy, and elegance. His Flute Concerto, composed in 1952 and dedicated to John Francis, displays these qualities in abundance, as well as the lyricism which had become more prominent in his post-war works. It is scored for an orchestra of two oboes, two bassoons, two horns, timpani, and strings.
In 1976, Berkeley took on the difficult task of orchestrating the piano part of Poulenc’s Sonata for Flute and Piano. We know from a diary entry that Berkeley was expecting the task to prove difficult, and perhaps he made the task even more taxing by choosing not to include a harmonic instrument in his orchestral completion. In the end, though, his instruments of choice were used with great ingenuity. For example, in the opening, the piano part is transferred to interlocking clarinets and bassoons, and in the middle section, the greater weight of the piano is replaced first by strings, and then by the full orchestra.
Alwyn was seventy-five years old, and contemplating giving up composition, when he was approached by the English Chamber Orchestra Wind Ensemble to write a piece for it. The work, a Concerto for Flute and Winds, was completed in 1980. In 2006, at the request of the William Alwyn Foundation, John McCabe arranged it for flute and full orchestra, the version included on this disc.
The Magic Flute Dances by Jonathan Dove is based loosely around the opera by Mozart, and was written in response to a commission from The Young Concert Artists Trust and Emily Beynon. The storyline is here explained by Dove: ‘What happens to the magic flute at the end of Mozart’s opera? Does Tamino give it back to the three ladies? Does it lie in a box, forgotten, at the back of a cupboard? Does it, perhaps, come out and dance, singing to itself about Tamino’s adventures? When Emily Beynon asked me for a concerto that had some connection with Mozart, I thought this could be an opportunity to let the flute out of its box.’
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