|
|
艺术家：马克・米尔霍费尔、马尔科・斯科拉斯特拉
标题：布里顿：声乐曲与钢琴曲完整民谣集
发行年份：2021 年
厂牌：辉煌古典（Brilliant Classics）
流派：古典
音质：无损 FLAC/24 位 - 44.1kHz FLAC + 小册子
总时长：02:03:41
总大小：552 兆字节 / 1.08 千兆字节
网站：专辑预览
曲目列表
01. 漫游时的思索
02. 莎莉花园
03. 小威廉爵士
04. 莫雷的漂亮伯爵
05. 你会缝靠垫吗
06. 树儿长得高高
07. 灰烬之林
08. 奥利弗・克伦威尔
09. 鳄鱼
10. 绿袖子
11. 冬青与常春藤
12. 逝去的圣诞
13. 春天来了
14. 纺纱女
15. 国王去打猎
16. 美人在爱情花园中
17. 世上有那么一个人
18. 嘿哟！嘿哟！
19. 当我在父亲家时
20. 耕地少年
21. 无人安慰
22. 可爱的波莉・奥利弗
23. 迪河的磨坊主
24. 朦胧的露水
25. 山谷中的溪流
26. 哇里，哇里
27. 你不从纽卡斯尔来吗
28. 祈祷吧，古迪
29. 聋女的求爱
30. 在午夜时分
31. 珍贵稀有
32. 我祖国的竖琴啊！
33. 夏日最后一朵玫瑰
34. 迷人的景象
35. 复仇与光明
36. 航行吧，航行吧
37. 回答多甜蜜
38. 吟游男孩
39. 在寂静的深夜
40. 士兵，你愿意娶我吗
41. 活泼的年轻寡妇
42. 我们巷子里的莎莉
43. 林肯郡偷猎者
44. 清晨
45. 呼唤母羊
46. 汤姆・鲍林
47. 丁克之歌
马克・米尔霍费尔与马尔科・斯科拉斯特拉 - 布里顿：声乐曲与钢琴曲完整民谣集（2021 年）[高解析度]
或许是布里顿在音乐与生活中的伴侣彼得・皮尔斯（Peter Pears），让这位作曲家注意到英国民谣的丰富遗产及其魅力 —— 在 20 世纪 40 年代，这成为他们共同的歌曲音乐会上引入织体变化与轻松基调的方式。据这位男高音回忆，布里顿 “希望将这些旋律及其文本重新演绎为音乐会作品，使其成为艺术歌曲…… 因此他如同自己创作般对待旋律，并回溯思考如何将其转化为歌曲”。因此，钢琴部分绝非单纯伴奏，而是经过精心雕琢、巧妙诠释歌词及爱情与乡村生活故事的注解。
在《朦胧的露水》《哇里，哇里》等作品中，布里顿的改编版本甚至比任何 “原版” 更为人熟知；它们在大众想象中成为了民谣的代名词，而皮尔斯演唱的独特音色也在上世纪下半叶烙印在无数乐迷心中。然而，这些歌曲至今仍是许多青年歌手音乐会曲目的一部分（常不止于返场曲目），并允许丰富多样的演绎方式。
男高音马克・米尔霍费尔此前曾参与辉煌古典对阿尔班・贝尔格（Alban Berg，95549）和弗朗切斯科・托斯蒂（Francesco Tosti，第一卷 - 95201）完整歌曲作品的收录，其中贝尔格的专辑尤其获得热烈赞誉：“完全引人入胜…… 从第一个音符到最后一个音符都令人信服。每位表演者都为这多样的曲目带来真诚与热情。录音堪称完美”（《国际音乐网》）。
他对这一曲目带着母语般的娴熟与对文本的深刻理解，这种敏锐的共情也体现在他为专辑撰写的小册子文章中。他的音乐生涯始于牛津大学莫德林学院的合唱学者，随后在罗马师从蕾娜塔・斯科托（Renata Scotto）和莱拉・根瑟（Leyla Gencer）；这种声乐上的多才多艺，正是布里顿歌曲创作的理想诠释者。
Artist: Mark Milhofer, Marco Scolastra
Title: Britten: Complete Folk Songs for Voice and Piano
Year Of Release: 2021
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 02:03:41
Total Size: 552 mb / 1.08 gb
WebSite: Album Preview
Tracklist
01. I Wonder as I Wander
02. The Salley Gardens
03. Little Sir William
04. The Bonny Earl O' Moray
05. O Can Ye Sew Cushions-
06. The Trees They Grow so High
07. The Ash Grove
08. Oliver Cromwell
09. The Crocodile
10. Greensleeves
11. The Holly and the Ivy
12. La Noel Passee
13. Voici Le Printemps
14. Fileuse
15. Le roi s'en va-t'en chasse
16. La belle est au jardin d'amour
17. Il est quelqu'un sur terre
18. Eho! Eho!
19. Quand j'etais chez mon pere
20. He Plough Boy
21. There's None to Soothe
22. Sweet Polly Oliver
23. The Miller of Dee
24. The Foggy, Foggy Dew
25. The Stream in the Valley
26. O Waly, Waly
27. Come You Not from Newcastle-
28. Pray Goody
29. He Deaf Woman's Courtship
30. At the Mid Hour of Night
31. Rich and Rare
32. Dear Harp of My Country!
33. The Last Rose of Summer
34. O the Sight Entrancing
35. Avenging and Bright
36. Sail On, Sail On
37. How Sweet the Answer
38. The Minstrel Boy
39. Oft in the Stilly Night
40. Soldier, Won't You Marry Me-
41. The Brisk Young Widow
42. Sally in Our Alley
43. The Lincolnshire Poacher
44. Early One Morning
45. Ca' the Yowes
46. Tom Bowling
47. Dink's Song
Mark Milhofer & Marco Scolastra - Britten: Complete Folk Songs for Voice and Piano (2021) [Hi-Res]
It was probably Peter Pears, Britten’s partner in music and life, who drew the composer’s attention to the rich heritage of English folksong and its attractions, as a way to introduce texture, variety and a lighter tone to their song recitals together during the 1940s. According to the tenor, Britten ‘wanted to recreate these melodies with their texts for concert performance, to make them art-songs … he therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song.’ Thus the piano parts are no mere accompaniments but highly wrought, deftly illustrative comments on the texts and stories of love and country life.
In cases such as The Foggy, Foggy Dew and O Waly, Waly, Britten’s arrangements have become better known than any ‘original’ version; they have assumed the identity of the song in the popular imagination, and the distinctive voice of Pears singing them imprinted itself on the imaginations of countless music-lovers in the second half of the last century. However, the songs retain their place in the concert repertoire of many young singers, often as more than encore material, and they admit a rich variety of interpretative approaches.
The tenor Mark Milhofer has previously taken part in Brilliant Classics surveys of the complete song output of Alban Berg (95549) and Francesco Tosti (Vol.1 – 95201), with the Berg attracting particularly enthusiastic praise: ‘Totally absorbing… convincingly performed from the first note to the last. Each performer brings sincerity and enthusiasm to this varied repertoire. The recording is ideal’ (MusicWeb International).
To this repertoire he brings a native facility and familiarity with the texts, and a keen sympathy also at work in his booklet essay for the collection. He began his musical career as a Choral Scholar at Magdalen College, Oxford, but subsequently became a student of Renata Scotto and Leyla Gencer in Rome; a vocal versatility which is ideally suited to Britten’s song-writing.
|
|
发表于