09-埃勒：小提琴协奏曲、幻想曲、交响传奇与第二交响曲(2018) [Hi-Res]
艺术家：拜芭·斯克里德、爱沙尼亚国家交响乐团、奥拉里·埃尔茨
标题：埃勒：小提琴协奏曲、幻想曲、交响传奇与第二交响曲
发行年份：2018年
厂牌：Ondine
流派：古典
音质：FLAC（镜像文件+.cue、日志、小册子）
总时长：67分43秒
总大小：332兆字节
网站：专辑预览
曲目单
海诺·埃勒（1887–1970）
B小调小提琴协奏曲（1933–34/1937/1964）
交响传奇（Sümfooniline legend）（1923/1938）
G小调小提琴与管弦乐幻想曲（1916/1964）
第二交响曲（未完成）：I. 行板—很快的快板（1947）
表演者：
拜芭·斯克里德 小提琴
爱沙尼亚国家交响乐团
奥拉里·埃尔茨 指挥
距我上次评论爱沙尼亚作曲家海诺·埃勒的管弦乐作品似乎已时隔许久。贝拉音乐-Antes厂牌的那张唱片至今仍值得寻味，不过它与这张Ondine唱片仅在24分钟的单乐章小提琴协奏曲上有所重叠。Ondine的录音极为直白且生动。埃勒的小提琴协奏曲有着与德柳斯、莫兰以及沃恩·威廉斯《云雀》协奏曲相似的狂想气质。才华横溢的拜芭·斯克里德作为世界级小提琴家参与录制，既是对作曲家的致敬，也恰逢爱沙尼亚独立百年纪念。这部充满民俗风情、技巧精湛且旋律如歌的协奏曲原定于1940年6月在塔林首演，却被撤下，直至1965年3月才由内梅·雅尔维指挥首演。Ondine提到，它在20世纪80年代逐渐获得演出机会，并于1984年由维克多·皮卡森与爱沙尼亚广播交响乐团（彼得·利尔耶指挥）录制。这部作品尽管为单乐章且富有即兴感，却极具魅力，堪与另一波罗的海国家作曲家雅尼斯·伊万诺夫斯18年后创作的小提琴协奏曲并列。
Ondine介绍，时长与协奏曲相近的《交响传奇》是埃勒在第一交响曲（1936年）之前规模最大的作品。其首演于1923年6月在塔尔图举行，埃勒于1938年进行了修订。这是一部浓郁炽烈的浪漫主义作品，节奏先是悠然摇摆，继而如浪潮翻涌，充满海洋般的磅礴气势，令人联想到拉赫玛尼诺夫的《岩石》、柴可夫斯基成熟期作品与斯克里亚宾早期风格，最终在治愈而安宁的氛围中收尾。此次演绎是该作品的首次录音。接下来是另一首小提琴与管弦乐作品——作于1916年的《幻想曲》短曲，于1964年完成配器。77岁的作曲家为29岁时创作的作品进行配器，想必是一段特别的经历。其风格近似格拉祖诺夫的小提琴协奏曲，温润柔和，少了些炫技色彩，多了份静谧安然。埃勒在20世纪30至60年代间共创作了三首交响曲，第二交响曲仅存第一乐章，却堪称奇妙：这一独立乐章蕴含着炽热的交响张力、澎湃的激情与充沛的浪漫气息，虽为未完成之作的片段，音乐却如展翅雄鹰般完整饱满。埃尔茨与爱沙尼亚国家交响乐团的演绎完美应对了作品的挑战，该乐章直至2012年9月才公开演出。
1940年对埃勒而言是关键的一年。自1920年起，他担任塔尔图高等音乐学校教授，其卓越成就与塔林学派（阿图尔·卡普引领）形成鲜明对照。他的学生包括爱德华·图宾、维勒姆·卡普、卡尔约·雷德、亚恩·拉茨、海诺·尤里萨卢、阿沃·帕特、莱波·苏梅拉、鲍里斯·帕尔萨达尼安、爱德华·奥亚与奥拉夫·鲁茨。1967年，他被授予苏联人民艺术家称号，三年后与世长辞。正如阿沃·帕特所言：“（他）的意义远超我能用言语表达的范畴。爱沙尼亚音乐能获得文化与专业上的尊严，很大程度上归功于他。”埃勒的钢琴作品已有六卷由Toccata Classics厂牌发行，《音乐网国际》已评论过其中三卷（第1卷、第2卷、第6卷）。
这张唱片洋溢着喜悦，又饱含诗意的细腻情感，Ondine与爱沙尼亚应当为此感到自豪。——罗布·巴尼特，《音乐网国际》
Artist: Baiba Skride, Estonian National Symphony Orchestra & Olari Elts
Title: Eller: Violin Concerto, Fantasy, Symphonic Legend & Symphony No. 2
Year Of Release: 2018
Label: Ondine
Genre: Classical
Quality: FLAC (image + .cue, log, booklet)
Total Time: 67:43
Total Size: 332 MB
WebSite: Album Preview
Tracklist:
Heino Eller (1887–1970)
Violin Concerto in B minor (1933–34/1937/1964)
Symphonic Legend (Sümfooniline legend) (1923/1938)
Fantasy (Fantaasia) in G minor for violin and orchestra (1916/1964)
Symphony No. 2 (unfinished): I. Andante. Allegro molto (1947)
Performers:
Baiba Skride violin
Estonian National Symphony Orchestra
Olari Elts
It seems, and was, ages ago that I last reviewed a disc of Estonian Heino Eller's orchestral music. That disc from Bella Musica-Antes is still worth hunting down as it overlaps with this Ondine example only in relation to the single-movement 24-minute violin concerto. The Ondine recording is unflinchingly forward and vivid. Eller's Violin Concerto has about it much the same rhapsodic air as the concertos by Delius and Moeran and RVW's Lark. That Eller has attracted a world-class violinist in the gifted Baiba Skride is tribute to the composer and incidentally to the centenary of Estonia’s independence. This stampingly folksy, virtuosic and singing concerto was to have been premiered in June 1940 in Tallinn but, was withdrawn. It had to wait until March 1965 when Neeme Järvi conducted its premiere. Ondine tell us that during the 1980s it gained performances. It was recorded in 1984 by Viktor Pikaizen with the Estonian Radio Symphony Orchestra conducted by Peeter Lilje. It's a fine piece which despite its single movement and instinctive ways is very attractive and deserves to stand next to another Baltic state's violin concerto, that by Janis Ivanovs dating from eighteen years later.
Ondine tell us that Symphonic Legend, at about the same length as the Concerto, is Eller’s largest score before the First Symphony (1936). The premiere came about in June 1923 in Tartu but Eller made revisions in 1938. It's a lush, intensely romantic, leisurely rocking and then swell-tossed work. Its oceanic inclinations are indulged and are similar to those in Rachmaninov's The Rock and in mature Tchaikovsky and early Scriabin. It ends in a healing and contented stasis. The work here receives its first performance. Then comes another work for violin and orchestra. This short Fantasy, written in 1916, was orchestrated in 1964. It must have been quite an experience for the 77-year-old composer to do such work on a piece he had written when he was 29. It has the sound and generally lambent demeanour of the Glazunov Violin Concerto but more restful and less of the display. There are three Eller symphonies written between the 1930s and 1960s. The Second Symphony has only one movement surviving: its first. What there is of it is fantastic - an isolated spar of searing and symphonic moment, voluble excitement and full-hearted romantic heat. This may be a single movement from an intended larger work but the music takes wing and feels fully fledged. The performance by Elts and Estonia's national orchestra is more than equal to its challenges. It was not performed publicly until September 2012.
1940 was a fateful year for Eller. He had been professor at Tartu Higher School for Music since 1920. His distinguished legacy was in distinction to the Tallinn school guided by Artur Kapp. His students included Eduard Tubin, Vilem Kapp, Kaljo Raid, Jaan Rääts, Heino Jürisalu, Arvo Pärt, Lepo Sumera, Boris Parsadanian, Eduard Oja and Olav Roots. He was made a People's Artist of the USSR in 1967 just three years before his death. That apart, some hint of what Eller meant can be discerned in the words of Arvo Pärt: “ was much more than anything I can express in words. It was largely due to him that music in Estonia was able to achieve a cultural and professional dignity." Eller's piano music has been the subject of six Toccata classics volumes of which MWI has reviewed three (Volume 1; Volume 2; Volume 6).
Ondine and Estonia can take satisfaction in this disc which whoops with joy and sighs with poetic sensibility. -- Rob Barnett, MusicWeb-Internationa
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