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艺术家：瑞典广播合唱团、埃里克·埃里克松室内合唱团、诺尔雪平交响乐团、克里斯蒂安·林德伯格
标题：佩特松：第十二交响曲“广场上的死者”
发行年份：2021年
厂牌：BIS
流派：古典
音质：FLAC（分轨）/24位-96千赫兹FLAC（分轨+小册子）
总时长：55:36
总大小：272兆字节/0.98千兆字节
网站：专辑预览
曲目单
01. 第十二交响曲“广场上的死者”：广场上的死者（10:53）
02. 第十二交响曲“广场上的死者”：屠杀（8:23）
03. 第十二交响曲“广场上的死者”：硝酸盐的人们（5:20）
04. 第十二交响曲“广场上的死者”：死亡（4:44）
05. 第十二交响曲“广场上的死者”：旗帜如何诞生（1:22）
06. 第十二交响曲“广场上的死者”：我呼唤他们（5:46）
07. 第十二交响曲“广场上的死者”：敌人（6:51）
08. 第十二交响曲“广场上的死者”：他们在此（3:16）
09. 第十二交响曲“广场上的死者”：永远（9:05）
在许多方面，第十二交响曲都是艾伦·佩特松作品中的特例。当他同意为乌普萨拉大学500周年校庆创作一部作品时，这是他生平极少接受的委约之一。更值得注意的是，在过去30年里一直专注于纯管弦乐创作后，他决定在此作中加入合唱与文本。巴勃罗·聂鲁达于1971年获得诺贝尔奖，佩特松认可这位诗人“对社会边缘人群深切的同情”，从其巨著《漫歌集》中挑选了九首诗作为新作的基础。（当佩特松创作这部交响曲时，聂鲁达于1973年9月11日智利军事政变后的动荡中逝世。）这些诗歌讲述了1946年圣地亚哥的一起事件：六名示威者在工人抗议活动中被警方杀害。出身工人阶级的佩特松如此评价主题：“我的心过去是、现在依然是属于智利的穷人，就像我成长中接触的‘第三世界’工人一样。”
尽管第十二交响曲包含文本与声乐，但它无疑仍是一部纯粹的“佩特松式交响曲”——如同许多前作，它由单一乐章构成，作曲家将歌词视为“纯粹交响语境的一部分”。合唱部分极具挑战性：合唱团几乎无间断演唱，且常以极强力度和高难度音域呈现。
瑞典广播合唱团与埃里克·埃里克松室内合唱团——瑞典最优秀的两支合唱团——为此次录音联合演出，与诺尔雪平交响乐团及克里斯蒂安·林德伯格共同延续了该团队备受赞誉的佩特松作品系列。
Artist: Swedish Radio Choir, Eric Ericson Chamber Choir, Norrköping Symphony Orchestra, Christian Lindberg
Title: Pettersson: Symphony No. 12 "The Dead in the Square"
Year Of Release: 2021
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 55:36
Total Size: 272 MB / 0.98 GB
WebSite: Album Preview
Tracklist:
01. Symphony No. 12 "The Dead in the Square": The Dead in the Square (10:53)
02. Symphony No. 12 "The Dead in the Square": The Massacre (8:23)
03. Symphony No. 12 "The Dead in the Square": The Men of Nitrate (5:20)
04. Symphony No. 12 "The Dead in the Square": Death (4:44)
05. Symphony No. 12 "The Dead in the Square": How the Flags Were Born (1:22)
06. Symphony No. 12 "The Dead in the Square": I Call on Them (5:46)
07. Symphony No. 12 "The Dead in the Square": The Enemies (6:51)
08. Symphony No. 12 "The Dead in the Square": Here They Are (3:16)
09. Symphony No. 12 "The Dead in the Square": Always (9:05)
In more ways than one, the Twelfth Symphony forms an exception in Allan Pettersson’s output. When he agreed to compose a work for the 500th anniversary of Uppsala University, it was one of the few commissions that he ever accepted. And what’s more, he now – after having written purely orchestral scores for the past 30 years – decided to incorporate a choir and a text. Pablo Neruda had received the Nobel Prize in 1971, and acknowledging the poet’s ‘deeply felt compassion for the outcasts of society’, Pettersson selected nine poems from the huge collection Canto general for his new work. (As Pettersson was composing the symphony, Neruda died during the tumultuous aftermath of the military coup in Chile on 11 September 1973.) The poems deal with an incident in Santiago de Chile in 1946 when six demonstrators were killed by the police during a workers’ manifestation. Pettersson, who came from a working-class background, commented on the subject matter: ‘My heart was, and is, with the poor of Chile, so like the worker in the ‘third world’ in which I grew up’.
But even though Symphony No. 12 includes both text and singing, it was never a question of it turning into anything other than a true ‘Pettersson symphony’ – like so many of its predecessors it is in one movement, and the composer considered the words to be ‘part of a purely symphonic context’. The choral parts are highly demanding – the choir sings almost without interruption, and often very forcefully and in difficult registers.
The Swedish Radio Choir and Eric Ericson Chamber Choir, two of Sweden’s finest choirs, have combined their forces for this recording and join the Norrköping Symphony Orchestra and Christian Lindberg on the latest instalment in the team’s acclaimed Pettersson cycle.
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