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艺术家：托马斯·阿德斯（Thomas Ades）、伦敦爱乐乐团（London Philharmonic Orchestra）
专辑名称：《托马斯·阿德斯：管弦乐组曲》
发行年份：2025年
厂牌：伦敦爱乐乐团
音乐类型：古典音乐
音质：FLAC无损分轨格式
总时长：1小时10分18秒
总大小：284兆字节
网站：专辑预览
曲目列表
01. 选自《为她敷粉》的奢华组曲：第一首，《序曲》
02. 选自《为她敷粉》的奢华组曲：第二首，《带歌曲的场景》
03. 选自《为她敷粉》的奢华组曲：第三首，《婚礼进行曲》
04. 选自《为她敷粉》的奢华组曲：第四首，《圆舞曲》
05. 选自《为她敷粉》的奢华组曲：第五首，《颂歌》
06. 选自《为她敷粉》的奢华组曲：第六首，《追逐文件》
07. 选自《为她敷粉》的奢华组曲：第七首，《酒店经理咏叹调“为时已晚”》
08. 选自《为她敷粉》的奢华组曲：第八首，《终曲》
09. 选自《暴风雨》的五段咒语：第一首，《序曲（暴风雨）》
10. 选自《暴风雨》的五段咒语：第二首，《阿里尔与普洛斯彼罗》
11. 选自《暴风雨》的五段咒语：第三首，《费迪南德与米兰达》
12. 选自《暴风雨》的五段咒语：第四首，《盛宴》
13. 选自《暴风雨》的五段咒语：第五首，《普洛斯彼罗的告别 - 卡利班》
14. 《地狱组曲》：第一首，《放弃希望》
15. 《地狱组曲》：第二首，《自私者 - 被黄蜂蜇》
16. 《地狱组曲》：第三首，《摆渡人》
17. 《地狱组曲》：第四首，《灵薄狱灵魂的帕凡舞曲》
18. 《地狱组曲》：第十首，《教皇的柔板 - 头朝下》
19. 《地狱组曲》：第十一首，《伪善者 - 穿着铅衣》
20. 《地狱组曲》：第十二首，《小偷 - 被蛇吞噬》
21. 《地狱组曲》：第十三首，《撒旦 - 在冰湖中》
这张来自伦敦爱乐乐团的新专辑，收录了阿德斯的歌剧《为她敷粉》（1995年切尔滕纳姆音乐节首演）和《暴风雨》（2004年考文特花园皇家歌剧院首演）中的重要管弦乐组曲，以及他近期的芭蕾舞剧《但丁计划》（2021年考文特花园皇家歌剧院首演）的组曲。
在《为她敷粉》首演时，阿德斯年仅24岁，他成为了英国音乐界的神童，委约作品纷至沓来。起初，他从这部歌剧中改编出了一个三乐章的组曲，但十年后他进行了修订，加入了更多场景。阿德斯的拥护者西蒙·拉特尔爵士在柏林首次演奏了修订后的版本，这张CD中的演奏则来自次年，即2018年。这部作品是一场音乐会上半场的一部分，那场音乐会还包括加雷思·巴里的管风琴协奏曲和斯特拉文斯基的《珀尔塞福涅》——这是典型的托马斯·阿德斯式的节目单，并且在英国广播公司第三电台进行了现场直播。
这部歌剧基于阿盖尔公爵夫人的故事，她在20世纪60年代与第二任丈夫阿盖尔公爵经历了一场备受瞩目的丑闻离婚案后声名狼藉。她是战后英国富裕统治阶级放荡生活的典型代表——“无头人”的故事无疑让许多报纸大卖。阿德斯的这套25分钟的组曲是为大型管弦乐队而作，编制包括三支木管乐器组、一组打击乐器和庞大的弦乐声部。其中有探戈、大量的圆舞曲，充满了低俗与诱惑。音乐很好地描绘了这个故事，且没有拖沓之感。当然，是阿德斯亲自指挥，他为乐谱增添了色彩与活力。我喜欢萨克斯风和单簧管在其中闪耀的表现。乐谱中也有一些黑暗和悲怆的元素；在当时这是一项令人难以置信的成就。听众应该做好准备，虽然这部作品带有爵士风格且让人联想到20世纪30年代，但它绝非模仿之作。这是一位当下真正杰出的作曲家的作品。阿德斯还为这部作品写了一首相当有分量的类似李斯特风格的钢琴音乐会改编曲，值得一听。
阿德斯歌剧《暴风雨》中的《五段咒语》作为一部独立作品，甚至更令人印象深刻。我记得几年前它首演时被命名为《暴风雨交响曲》。我参加了2004年在考文特花园皇家歌剧院的一场歌剧首演。我记得很清楚，尤其是因为我利用了剧院的定价策略，生平第一次给自己买了一张正厅前排的座位票（价格和我通常买前排环形座位的价格一样）。在这套组曲中，乐器承担了声乐角色，主要是阿里尔和普洛斯彼罗，还包括大号演奏家斯图尔特·比尔德饰演的贡萨洛的精彩客串。
暴风雨般的序曲以无拘无束的狂怒描绘了狂风和巨浪。阿德斯结束这个乐章的方式和开始时一样有力，我可以想象，这首狂风暴雨般的音乐比听起来更难演奏。在接下来的两个乐章中，我们认识了主要角色。首先，我们在一段快速且复杂但结构精妙的对话中见到了阿里尔和普洛斯彼罗。接着，我们进入了费迪南德和米兰达之间奢华的爱情场景。闪烁的弦乐和管乐中神奇的和声营造出了绝佳的音景，使这个乐章成为真正的瑰宝——这是纯粹的调性音乐，易于理解且是优美的管弦乐作品。
在《盛宴》中，我们听到了很高音区的小提琴、钢琴和闪烁的打击乐效果，营造出了神奇而神秘的场景。阿里尔为一些不幸的海难流浪者创造了一种海市蜃楼般的宴会。这是大号演唱咏叹调的场景——这里的长号也令人印象深刻——一切都非常庄重且相当感人。终曲基于歌剧中普洛斯彼罗的最后一幕。缓慢而庄重，组曲以固定音型结束，近乎恰空舞曲风格，归于宁静。
《暴风雨》组曲是一部卓越的作品，对于刚接触这位作曲家的人来说，它是一个绝佳的入门之作。它易于聆听和理解，同时包含了许多灵感迸发的天才之作，会吸引音乐鉴赏家。
阿德斯的完整芭蕾舞剧配乐《但丁》于2021年10月在考文特花园皇家歌剧院上演，并在几年后复演。整部乐谱由洛杉矶爱乐乐团在古斯塔沃·杜达梅尔的指挥下为无调性唱片公司录制。这是对一部真正令人印象深刻的乐谱的出色录制，我很惊讶它在很多收藏家那里没有引起太多关注。在这里，伦敦爱乐乐团厂牌为我们提供了芭蕾舞剧第一部分也是最长部分《地狱》的简短组曲。
在但丁的《神曲》中，作者进行了一次前往地狱深处、登上炼狱山并通向天堂耀眼高度的旅程。他由维吉尔作为向导陪伴，并且总是有美丽的贝阿特丽切的幻象引领着他前行。在地狱中，但丁进入这个领域，向下穿过各个圈层，途中遇到了处于不同痛苦阶段的受罚者。阿德斯自己说过：“但丁有维吉尔做向导，我有李斯特。” 李斯特是创作恶魔般乐章的绝佳典范，而阿德斯证明了自己是这位大师值得称赞的学生。
开头狂野旋转的和弦让位于对罪人被黄蜂蜇的生动描绘。据我理解，这些灵魂并不完全在地狱中，但他们在那里是因为他们一生只为自己的利益而活，从未为正义挺身而出。卡戎载着但丁和维吉尔渡过阿刻戎河，进入真正的地狱——这是拉赫玛尼诺夫传统中的经典划船音乐——顺便说一句，还有一段美妙的英国管独奏部分。
有一首美妙的帕凡舞曲，向我们展示了灵薄狱中的灵魂。正是在这里，组曲跳过了地狱的几个圈层，直接把我们带到了第八层。首先，我们听到了一首教皇的柔板，接着是描绘伪善者和小偷的音景。大号、长号、定音鼓和沉重的低音线条描绘出了压在伪善者身上的铅一般的沉重感。小偷们遭受着更糟糕的惩罚。被蛇追逐，他们被咬后化为灰烬，却又瞬间重生，继续承受痛苦。阿德斯为这些恶作剧写了一首肖斯塔科维奇风格的波尔卡。最后，在地狱的最后一层，我们发现魔鬼被囚禁在一片燃烧的冰湖中。这是一个颤抖、庄严且诡异的结尾，为这部美妙的组曲画上了句号。
这张CD的曲目编排非常出色，所有三套组曲都是必听之作。乐团的表现始终出色，工程师录制的声音饱满而温暖。对于任何对托马斯·阿德斯的音乐感到好奇并想尝试一下的人，我都会推荐这张专辑。它理应获得巨大的成功。
Artist: Thomas Ades, London Philharmonic Orchestra
Title: Thomas Adès: Orchestral Suites
Year Of Release: 2025
Label: London Philharmonic Orchestra
Genre: Classical
Quality: flac lossless (tracks)
Total Time: 01:10:18
Total Size: 284 mb
WebSite: Album Preview
Tracklist
01. Luxury Suite from Powder Her Face: I. Overture
02. Luxury Suite from Powder Her Face: II. Scene with Song
03. Luxury Suite from Powder Her Face: III. Wedding March
04. Luxury Suite from Powder Her Face: IV. Waltz
05. Luxury Suite from Powder Her Face: V. Ode
06. Luxury Suite from Powder Her Face: VI. Paperchase
07. Luxury Suite from Powder Her Face: VII. Hotel Manager's Aria "It is too late"
08. Luxury Suite from Powder Her Face: VIII. Finale
09. Five Spells from The Tempest: I. Overture (Storm)
10. Five Spells from The Tempest: II. Ariel and Prospero
11. Five Spells from The Tempest: III. Ferdinand and Miranda
12. Five Spells from The Tempest: IV. The Feast
13. Five Spells from The Tempest: V. Prospero's Farewell - Caliban
14. Inferno Suite: I. Abandon Hope
15. Inferno Suite: II. The Selfish - stung by wasps
16. Inferno Suite: III. The Ferryman
17. Inferno Suite: IV. Pavan of the Souls in Limbo
18. Inferno Suite: X. The Popes' Adagio - heads first
19. Inferno Suite: XI. The Hypocrites - in coats of lead
20. Inferno Suite: XII. The Thieves - devoured by snakes
21. Inferno Suite: XIII. Satan - in the lake of ice
New from the LPO, this disc contains substantial suites of orchestral music from Adès’ operas Powder her Face (Cheltenham Festival, 1995) and The Tempest (Covent Garden, 2004), and a suite from his recent ballet The Dante Project (Covent Garden, 2021).
Aged only 24 at the premiere of Powder her Face, Adès became the Wunderkind of British music and commissions came in thick and fast. He devised a three-movement suite from the opera early on but ten years later he made a revision adding more scenes. Adès champion, Sir Simon Rattle gave it first in Berlin and the performance on this CD is from the following year, 2018. The work formed part of the first half of a concert that also included the organ concerto of Gareth Barry and Stravinsky’s Perséphone – a classic Thomas Adès program, broadcast live on BBC Radio 3.
The opera is based on the Duchess of Argyll who attained her notoriety in the sixties following a very public scandalous divorce from her second husband, the Duke. She exemplified the dissoluteness of the wealthy ruling class in post war Britain – the “headless man” story sold many a newspaper for sure. Adès’ 25-minute suite is written for huge orchestra with triple woodwind, a battery of percussion and large string contingent. There is tango, waltzing galore, sleaze and seduction. The music very well portrays the story and does not overstay its welcome. Adès himself is of course conducting and brings colour and swagger to the score. I love the saxophones and the clarinets in their shining roles. There is some darkness and pathos to the score too; an incredible achievement at the time. Listeners should be prepared that whilst the piece is jazzy and looks back to the 30s, it is far from pastiche. It is the work of a truly masterful composer of the here and now. Adès also wrote a quite substantial Lisztian concert paraphrase on the work for piano which is worth hearing.
Adès Five Spells from his opera The Tempest is even more impressive as a stand-alone piece. I believe, when it was premiered a few years ago it was named the Tempest Symphony. I attended one of the premiere performances of the opera at Covent Garden in 2004. I remember it well, not least as I took advantage of the pricing decisions the house made and treated myself to a stalls seat for the first time ever (the price was what I would have normally paid for my front amphitheatre seat anyway). In the suite, instruments take on the vocal roles, mostly Ariel and Prospero but also including a super cameo from tuba player Stuart Beard as Gonzalo.
The stormy overture portrays the wind and waves with unbridled fury. Adès ends the movement just as effectively as he begins it, and I would imagine that the tempestuous music is harder than it seems. In the next two movements, we are introduced to our principal characters. First, we meet Ariel and Prospero in a fast moving and intricate but masterfully constructed dialogue. Next, we drop in on a sumptuous love scene between Ferdinand and Miranda. Shimmering strings and magical harmonies in the winds create a superb soundscape that make this movement a real gem – this is purely tonal, accessible and beautiful orchestral music.
In The Feast we hear very high violins, piano and twinkling percussive effects that conjure the scene of magic and mystery. Ariel has created a kind of mirage banquet for some of the unfortunate shipwrecked wanderers. This is the scene with the aria for tuba – the trombones are impressive here, too – all very noble and quite touching. The finale is based on Prospero’s final scene in the opera. Slow moving and sombre, the suite ends in tranquillity with ostinato – almost chaconne-like.
The suite from The Tempest is a superb work and would serve as a wonderful introduction to the composer for a novice. It is easy to listen to and follow whilst containing pages of inspired genius that will appeal to the connoisseur.
Adès’ full length ballet score Dante was given at Covent Garden in October 2021 and revived a couple of years later. The whole score was recorded for Nonesuch by the LAPO under Gustavo Dudamel. This is a great recording of a really impressive score and I am surprised it passed by many collectors rather unnoticed. Here the LPO label give us a short suite of movements from the ballet’s first and longest part Inferno.
In Dante’s Divine Comedy the author makes a journey to the depths of hell, up the mountain of Purgatory leading to the dazzling heights of heaven. He is accompanied as guide by Virgil and always there is the vision of beauty Beatrice leading him on. In the inferno, Dante enters the realm and descends through its circles meeting the damned on the way in various stages of anguish. Adès has said himself: “Dante had Virgil for a guide, I had Liszt”. Liszt is a great model for how to compose demonic movement and Adès proves a worthy student of the master.
The wild gyrating chords of the opening give way to a vivid portrayal of sinners being stung by wasps. These souls are not strictly in hell I understand, but are there as they lived a life only of self-interest and never stood up for what is right. Charon ferries Dante and Virgil across the river Acheron into hell proper – classic boat rowing music in the tradition of Rachmaninov – with a lovely cor anglais part, incidentally.
There is a lovely pavan which shows us souls in limbo. It is here that the suite jumps several circles of hell to take us directly to the eighth. First, we hear a Pope’s adagio followed by soundscapes depicting the hypocrites and the thieves. Tuba, trombones, timpani and a plodding bass line paint a picture of the leaden heaviness weighing down the hypocrites. The thieves endure an even worse ritual. Chased by snakes, they turn to ash when bitten, only to regenerate instantaneously to resume their agony again. Adès’ writes a Shostakovichian polka for these shenanigans. Finally, in the last circle of hell we find the Devil enclosed in a lake of flaming ice. A shivering, imposing and spooky finish to a wonderful suite.
This CD is so well programmed and all three suites are must-hear works. The orchestra are consistently excellent and the sound captured by the engineers is full and warm. It would be the single record I would now recommend to anyone curious to sample the music of Thomas Adès. It deserves to be a huge success.
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发表于 2025-4-8 08:28:01