07-马勒：第五交响曲与吕克特艺术歌曲（重新灌录版） (2020) [Hi-Res]
艺术家：新爱乐乐团，约翰·巴比罗利爵士
作品名称：马勒：第五交响曲与吕克特艺术歌曲（重新灌录版）
发行年份：2020年
厂牌：华纳古典
音乐类型：古典乐
音质：FLAC分轨
总时长：1小时33分54秒
总大小：3.38吉/425兆
官网：专辑预览
曲目列表
古斯塔夫·马勒（1860-1911）
升C小调第五交响曲：
01 I. 葬礼进行曲，适中的步伐 13:46
02 II. 激烈的激动，极大的猛烈 15:14
03 III. 谐谑曲，有力的，不过快 18:03
04 IV. 小柔板，非常缓慢 09:50
05 V. 回旋曲-终曲，快板 17:32
吕克特艺术歌曲：
06 第一首，别望向我的诗篇！01:34
07 第二首，我闻到一缕甜香！02:41
08 第三首，午夜时分 05:52
09 第四首，你是否爱美貌 02:27
10 第五首，我已与世界失去联系 06:50
约翰·巴比罗利爵士（1899–1970）生于伦敦，父母为意大利-法国人，早年以大提琴家身份受训，曾在剧院和咖啡厅管弦乐团演奏，1916年加入亨利·伍德爵士指挥的女王大厅管弦乐团。1924年，他组建自己的乐团，开启指挥生涯。1926至1933年间，他活跃于科文特花园等地的歌剧指挥舞台。此后历任苏格兰乐团（1933–36）、纽约爱乐乐团（1936–42）、哈雷乐团（1943–70）和休斯顿交响乐团（1961–67）指挥。巴比罗利常与世界顶尖乐团合作，尤其以诠释马勒、西贝柳斯、埃尔加、沃恩·威廉斯、戴留斯、普契尼和威尔第的作品闻名，录制了包括勃拉姆斯与西贝柳斯交响曲全集、威尔第与普契尼歌剧及大量英国作品在内的众多杰出录音。
巴比罗利接触古斯塔夫·马勒的音乐较晚。1930年，他在别人的排练中首次听到马勒第四交响曲，认为其风格单薄（尤其与柏辽兹和瓦格纳相比）。职业生涯早期，他仅偶尔涉足马勒作品，如1931年在伦敦皇家爱乐协会音乐会上为女高音埃琳娜·格哈特伴奏《亡儿悼歌》。直至1946年，他才在哈雷乐团第三乐季中加入《大地之歌》。1952年，评论家内维尔·卡杜斯提及汉密尔顿·哈蒂爵士在担任哈雷乐团指挥期间（1920–33）曾让英国首演马勒第九交响曲，力劝巴比罗利考虑执棒该作，称其为“理想之作”。两年后，巴比罗利首次指挥马勒交响曲，由此开启16年对马勒作品（除第八交响曲外）的全心投入。他陆续录制了第一、第五、第六和第九交响曲，其他几部的广播录音也已发行CD。
马勒交响曲贯穿巴比罗利余生，甚至可能影响了他的健康——他需在繁忙日程中挤出大量时间研究总谱。他认为掌握一部马勒交响曲需18个月至两年，会花数小时精心标注所有弦乐声部弓法。“若想出色指挥马勒，其音乐必须融入你的肌肤与骨骼，”他说，“晚年能发现如此宏大的作品是我的荣幸。当然，读完总谱不需两年，但要在如此广阔的音乐天地中‘旅行’，必须清楚每个乐思的起承转合及整体架构……”为此，1956年他花数天熟记第二交响曲合唱终曲，尽管首演计划在1958年5月。
尽管天生适合指挥歌剧，巴比罗利的歌剧指挥生涯主要集中在早年（1926–1933）。他在英国国家歌剧院、卡尔·罗莎歌剧团和科文特花园歌剧院积累了约20部歌剧曲目，包括瓦格纳《纽伦堡的名歌手》——他曾携该剧巡演，并在科文特花园指挥，1931年与伊丽莎白·舒曼、劳里茨·梅尔基奥尔、弗里德里希·肖尔等歌唱家录制的五重奏成为经典。此后虽未再登歌剧院指挥该剧，但其序曲成为他音乐会的常备曲目，尤其是哈雷乐团的重要场合：1943年，他正是以此曲开启仅用四周重组并复兴的哈雷乐团首场音乐会。
直至1960年代（生涯最后十年），他才重获机会指挥热爱的歌剧总谱。他计划录制普契尼《曼侬·莱斯科》，讽刺的是，还有《纽伦堡的名歌手》，但均未实现。不过，他成功录制了威尔第《奥赛罗》（其父与祖父曾参与1887年斯卡拉歌剧院首演，颇具家族传承意义）和《蝴蝶夫人》，以及珀塞尔《狄多与埃涅阿斯》。
埃尔加《谜语变奏曲》与他同年诞生，这一巧合令巴比罗利欣喜，该作也成为其保留曲目的核心。他在全球热忱演绎，直至1969年仍写信给友人迈克尔·肯尼迪：“许久未演《谜语变奏曲》，再次为其倾倒。”他在78转唱片时代录制两次，立体声时代于1956年和1962年又两度录制。1956年版《谜语变奏曲》细腻、庄重又激昂，与同期埃尔加第一交响曲和《引子与快板》的经典诠释齐名。他对拉威尔《鹅妈妈》的细腻演绎亦展现大师风范，对法国作品同样独具慧眼——此时他与哈雷乐团默契极佳，乐手对其艺术想象心领神会。
巴比罗利在EMI的唱片目录丰富，收录其所有伟大录音，许多收录于“英国作曲家”系列。
新爱乐乐团
指挥：约翰·巴比罗利爵士
数字重新灌录
Artist: New Philharmonia Orchestra, Sir John Barbirolli
Title: Mahler: Symphony No. 5 & Rückert-Lieder (Remastered)
Year Of Release: 2020
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks)
Total Time: 1:33:54
Total Size: 3.38 GB / 425 MB
WebSite: Album Preview
Tracklist:
Gustav Mahler (1860 - 1911)
Symphony No. 5 in C-Sharp Minor:
01 I. Trauermarsch. In gemessenem Schritt (13:46)
02 II. Stürmisch bewegt. Mit grösster Vehemenz (15:14)
03 III. Scherzo. Kräftig, nicht zu schnell (18:03)
04 IV. Adagietto. Sehr langsam (09:50)
05 V. Rondo-Finale. Allegro (17:32)
Rückert Lieder:
06 No. 1, Blicke mir nicht in die Lieder! (01:34)
07 No. 2, Ich atmet' einen linden Duft! (02:41)
08 No. 3, Um Mitternacht (05:52)
09 No. 4, Liebst du um Schönheit (02:27)
10 No. 5, Ich bin der Welt abhanden gekommen (06:50)
Born in London of Italian-French parents, Sir John Barbirolli (1899–1970) trained as a cellist and played in theatre and café orchestras before joining the Queen’s Hall Orchestra under Sir Henry Wood in 1916. His conducting career began with the formation of his own orchestra in 1924, and between 1926 and 1933 he was active as an opera conductor at Covent Garden and elsewhere. Orchestral appointments followed: the Scottish Orchestra (1933–36), the New York Philharmonic (1936–42), the Hallé Orchestra (1943–70) and the Houston Symphony (1961–67). Barbirolli guest conducted many of the world’s leading orchestras and was especially admired as an interpreter of the music of Mahler, Sibelius, Elgar, Vaughan Williams, Delius, Puccini and Verdi. He made many outstanding recordings, including the complete Brahms and Sibelius symphonies, as well as operas by Verdi and Puccini and much English repertoire.
Barbirolli was a late convert to the music of Gustav Mahler. He had first come across it in 1930 when the Fourth Symphony, as heard for the first time at somebody else’s rehearsal, struck him as being thin, certainly by comparison with Berlioz and Wagner. After some early excursions at the beginning of his career – such as in 1931, when he conducted the Kindertotenlieder for Elena Gerhardt at a Royal Philharmonic Society concert in London – Mahler scarcely even figured in his programmes until 1946, when he included Das Lied von der Erde in his third season with the Halle Orchestra. Then in 1952 his friend, the critic Neville Cardus, recalling that Sir Hamilton Harty had given England its first hearing of the Ninth Symphony during his reign as Hallé conductor (1920–33), urged Barbirolli to consider conducting it himself. It was, said Cardus, “the ideal work” for him. Two years later the thing happened: moreover, that first-ever performance by Barbirolli of a Mahler symphony opened the floodgates to a 16-year period in which he embraced them all save No.8. The First, Fifth, Sixth and Ninth he subsequently recorded commercially, and radio recordings of several of the others have also appeared on CD.
The symphonies preoccupied Barbirolli for the rest of his life, possibly even to the detriment of his health, as the vast periods of time he spent studying them had to be squeezed into an already hopelessly overcrowded schedule. He reckoned that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances. "If you want to conduct Mahler well his music must be under your skin and in your bones", he said, adding: "It is a joy to me in my advancing years that I have found something which […] is of such mighty dimensions. Of course, it does not take two years to read these scores, but if you prepare for a journey through such immeasurably wide musical spheres, you must know exactly where the musical ideas begin and where they end and how each fits into the pattern of the whole […]." To this end he spent several days in 1956 memorizing the choral finale of the Second Symphony, despite the fact that his first attempt upon it was not scheduled until May 1958.
Although a born opera conductor, most of Barbirolli’s operatic conducting was confined to the early years of his career when, between 1926 and 1933, he amassed a repertoire of 20 or so operas while working with the British National Opera, Carl Rosa and Covent Garden companies. Among them was Wagner’s Die Meistersinger, which he toured to the provinces and conducted at Covent Garden: a celebrated souvenir of these performances exists in his 1931 recording of the Quintet with Elisabeth Schumann, Lauritz Melchior and Friedrich Schorr, no less, among the singers. Although he never again conducted the work in the opera house, its overture became a staple of his concert programmes, especially for significant occasions with the Hallé: indeed, in 1943 he chose it to launch the very first concert of the orchestra he had reformed and revitalized in just four weeks.
It was not until the 1960s, during his last decade, that the opportunity to take up again the old operatic scores he loved so deeply came his way. Puccini’s Manon Lescaut and, ironically, Die Meistersinger were among the operas planned for recording by him at this time, but although neither project materialized he did manage to record (besides Purcell’s Dido and Aeneas) Verdi’s Otello – happily bringing the family wheel full circle, as both his father and grandfather had played in the opera’s première at La Scala in 1887 – and Madama Butterfly.
The happy coincidence that Elgar’s Enigma Variations dated from the same year as his birth delighted Barbirolli, and the work became a cornerstone of his repertoire. He conducted it zealously all over the world, and it is a measure of his love for the music that even as late as 1969 he could still write to his friend Michael Kennedy: "I hadn’t done the Enigmas for some time and was completely bowled over by them again." He recorded the work twice on 78s, and twice more during the stereo era, in 1956 and 1962. Completely memorable accounts of Elgar’s Symphony No.1 and Introduction and Allegro date from this period, and this 1956 version of the Enigma Variations, delicate, noble and thrilling by turns, is unquestionably in the same category. His cultivated reading of Ma Mère l’oye, too, reveals a master conductor at work, with an equally fastidious ear for the French repertoire; he and the Hallé were at the peak of their association at this time, with the players wonderfully attuned and responsive to his artistic imagination.
Barbirolli's current EMI discography is extensive and comprises all of his great recorded performances, many in the British Composers series.
New Philharmonia Orchestra
Sir John Barbirolli, conductor
Digitally remastered
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