13-弗里茨·莱纳指挥勃拉姆斯与施特劳斯作品
艺术家：弗里茨·莱纳
作品名称：《莱纳指挥勃拉姆斯与施特劳斯作品（重新灌录版）》
发行年份：2020年
厂牌：索尼古典唱片公司（Sony Classical）
音乐类型：古典音乐
音质：分轨FLAC格式
总时长：45分59秒
总大小：501兆字节
网站：专辑预览
曲目列表
01. 《21首匈牙利舞曲，作品WoO 1号》：g小调第5首（帕洛改编为管弦乐版）（重新灌录版）
02. 《21首匈牙利舞曲，作品WoO 1号》：F大调第7首（施梅林改编为管弦乐版）（重新灌录版）
03. 《21首匈牙利舞曲，作品WoO 1号》：d小调第12首（帕洛改编为管弦乐版）（重新灌录版）
04. 《21首匈牙利舞曲，作品WoO 1号》：D大调第13首（帕洛改编为管弦乐版）（重新灌录版）
05. 《21首匈牙利舞曲，作品WoO 1号》：D大调第6首（帕洛改编为管弦乐版）（重新灌录版）
06. 《21首匈牙利舞曲，作品WoO 1号》：e小调第21首（德沃夏克改编为管弦乐版）（重新灌录版）
07. 《21首匈牙利舞曲，作品WoO 1号》：B小调第19首（德沃夏克改编为管弦乐版）（重新灌录版）
08. 《21首匈牙利舞曲，作品WoO 1号》：g小调第1首（勃拉姆斯改编为管弦乐版）（重新灌录版）
09. 《南方的玫瑰，作品388号》（重新灌录版）
10. 《珍宝圆舞曲，作品418号》（重新灌录版）
11. 《维也纳的气质，作品354号》（重新灌录版）
12. 《旋转木马圆舞曲》（选自《旋转木马》）（重新灌录版）
弗里茨·莱纳是指挥界的传奇人物。他的音乐演绎备受赞誉，但其咄咄逼人、要求严苛的脾气却普遍不讨喜。不过他留下了一系列堪称典范的录音作品。在很大程度上，芝加哥交响乐团的艺术地位得以提升要归功于他，而且他对几代音乐家都产生了深远的影响。
莱纳1888年出生于布达佩斯，跟随母亲学习钢琴，15岁时进入弗朗茨·李斯特音乐学院—— 这所学院培养出的杰出校友还包括贝拉·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、格奥尔格·索尔蒂和安塔尔·多拉蒂。在积累了一些地方歌剧院的指挥经验后，莱纳最终于1911年回到布达佩斯，任职于该市的人民歌剧院，正是在那里，他作为一名极具天赋的指挥家的声誉开始崭露头角。
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，一直是施特劳斯作品的忠实诠释者。第一次世界大战后出现的经济混乱和不断抬头的反犹主义，让莱纳急切地想要离开欧洲，而1921年辛辛那提交响乐团邀请他担任音乐总监，这恰好提供了一个合适的机会。从那时起，莱纳的职业生涯便深深扎根于美国，并于1928年成为美国公民。
从辛辛那提交响乐团辞职后，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。伯恩斯坦尤其认为莱纳对他的成长产生了巨大影响。
1938年，他成为匹兹堡交响乐团的音乐总监—— 这是使莱纳树立起优秀乐团组建者声誉的多个职位之一，他具备引领乐团迈向更高品质和成就的天赋。莱纳的许多知名录音作品都出自他在匹兹堡交响乐团任职期间。在匹兹堡任职期间，他还曾客座指挥伦敦考文特花园皇家歌剧院和旧金山交响乐团的演出。之后他从匹兹堡交响乐团转至大都会歌剧院，在那里一直担任指挥直至1953年。在大都会歌剧院，他特别热衷于推广施特劳斯的歌剧，他指挥的《莎乐美》和《厄勒克特拉》的演出是大都会歌剧院历史上最令人难忘的时刻之一。
1953年对莱纳来说是具有分水岭意义的一年，因为就在那时，他开始担任芝加哥交响乐团的音乐总监。这成为了他最具标志性的合作，也奠定了他不朽的声誉。他与乐团的关系并非一帆风顺—— 他以在排练时的敌意和不耐烦以及因乐手在音乐会上犯错就将其解雇而闻名，但不可否认的是，他将这个乐团从一个优秀的美国乐团提升为世界上最顶尖的乐团之一。与其他一些仅在音乐经典作品的特定领域表现出色的著名指挥家不同，莱纳在极为广泛的音乐作品中都保持着卓越的水准和清晰精准的演绎，跨越了不同的国家和风格界限。他不仅因对新作品的演绎而闻名，比如巴托克的《乐队协奏曲》（这是莱纳亲自委托这位临终作曲家创作的作品）和阿兰·霍夫哈内斯的《神秘的山》，也因对马勒、施特劳斯和海顿作品的演绎而备受赞誉。他在芝加哥交响乐团任职期间还录制了数量空前的优秀唱片，尽管现代唱片在音质保真度上有所提升，但其中一些作品至今仍是乐迷们的最爱。莱纳于1962年从芝加哥交响乐团辞职（仅仅九个音乐季之后），次年因心力衰竭去世。~ 艾伦·施罗特
Artist: Fritz Reiner
Title: Reiner Conducts Brahms and Strauss (Remastered)
Year Of Release: 2020
Label: Sony Classical
Genre: Classical
Quality: FLAC (tracks)
Total Time: 45:59
Total Size: 501 MB
WebSite: Album Preview
Tracklist:
01. 21 Hungarian Dances, WoO 1: No. 5 in G Minor (Orch. Parlow) (Remastered)
02. 21 Hungarian Dances, WoO 1: No. 7 in F Major (Orch. Schmeling) (Remastered)
03. 21 Hungarian Dances, WoO 1: No. 12 in D Minor (Orch. Parlow) (Remastered)
04. 21 Hungarian Dances, WoO 1: No. 13 in D Major (Orch. Parlow) (Remastered)
05. 21 Hungarian Dances, WoO 1: No. 6 in D Major (Orch. Parlow) (Remastered)
06. 21 Hungarian Dances, WoO 1: No. 21 in E Minor (Orch. Dvorák) (Remastered)
07. 21 Hungarian Dances, WoO 1: No. 19 in B Minor (Orch. Dvorák) (Remastered)
08. 21 Hungarian Dances, WoO 1: No. 1 in G Minor (Orch. Brahms) (Remastered)
09. Rosen aus dem Süden, Op. 388 (Remastered)
10. Schatz-Walzer, Op. 418 (Remastered)
11. Wiener Blut, Op. 354 (Remastered)
12. The Carousel Waltz (From "Carousel") (Remastered)
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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