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艺术家：明尼苏达管弦乐团（Minnesota Orchestra）与奥斯莫·万斯卡（Osmo Vänskä）
作品名称：《马勒：E小调第七交响曲 “夜之乐章”》（Mahler: Symphony No. 7 in E Minor "Song of the Night"）
发行年份：2020年
厂牌：BIS唱片公司
音乐类型：古典音乐
音质：FLAC格式（分轨）/ 24比特-96千赫兹FLAC格式（分轨+小册子）
总时长：01:17:27
总大小：301兆字节 / 1.29吉字节
网站：专辑预览
曲目列表
01. E小调第七交响曲 “夜之乐章”：第一乐章，缓慢地（22分52秒）
02. E小调第七交响曲 “夜之乐章”：第二乐章，夜曲（15分30秒）
03. E小调第七交响曲 “夜之乐章”：第三乐章，谐谑曲（8分42秒）
04. E小调第七交响曲 “夜之乐章”：第四乐章，夜曲（12分27秒）
05. E小调第七交响曲 “夜之乐章”：第五乐章，终曲回旋曲（18分00秒）
古斯塔夫·马勒在努力筹备他的第七交响曲首演时，宣称这部作品是他最好的作品，“整体上具有欢快的特质”。他年轻的同事勋伯格表达了对这部作品的赞赏，而韦伯恩则认为这是他最喜欢的马勒交响曲。尽管如此，它仍然是马勒整个交响曲系列中演出次数最少、相关论述也最少的一部，并且被认为充满了神秘色彩，不如其他几部交响曲成功。造成这种情况的一个原因是，即使对于马勒的作品来说，这部交响曲也存在着巨大的反差：从似乎延续了前一部交响曲《“悲剧”第六交响曲》氛围的第一乐章，到被指责过于炫耀胜利主义的终曲乐章——马勒自己曾将终曲描述为“大白天”。在这两个极端之间，他安排了不少于两个名为“夜曲”（Nachtmusik）的乐章，中间夹着一个谐谑曲乐章，并且作曲家为谐谑曲添加了“朦胧的”（schattenhaft）这样的性格标记。马勒有句名言：“一部交响曲必须像这个世界，它必须包容一切。” 第七交响曲和他的其他交响曲一样，忠实于这一信条，展现出了丰富多样的情感、情绪和色彩。作曲家充分且富有想象力地运用了管弦乐队中扩充的木管乐器组和打击乐器组——包括牛铃、马鞭和钟琴等——此外还使用了曼陀林和吉他，为第四乐章中如夜间小夜曲般的音乐增添了游吟诗人般的韵味。在奥斯莫·万斯卡的指挥下，明尼苏达管弦乐团的乐手们将这一切生动地呈现出来，他们继续着这个既因演出质量又因录音音效而备受赞誉的交响曲系列的演绎。
Artist: Minnesota Orchestra & Osmo Vänskä
Title: Mahler: Symphony No. 7 in E Minor "Song of the Night"
Year Of Release: 2020
Label: BIS
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:17:27
Total Size: 301 MB / 1.29 GB
WebSite: Album Preview
Tracklist:
01. Symphony No. 7 in E Minor "Song of the Night": I. Langsam (22:52)
02. Symphony No. 7 in E Minor "Song of the Night": II. Nachtmusik (15:30)
03. Symphony No. 7 in E Minor "Song of the Night": III. Scherzo (8:42)
04. Symphony No. 7 in E Minor "Song of the Night": IV. Nachtmusik (12:27)
05. Symphony No. 7 in E Minor "Song of the Night": V. Rondo finale (18:00)
In an effort to arrange the first performance of his Seventh Symphony, Gustav Mahler declared it to be his best work, ‘preponderantly cheerful in character’. His younger colleague Schoenberg expressed his admiration for the work, and Webern considered it his favorite Mahler symphony. Nevertheless, it remains the least performed and least written-about symphony of the entire cycle, and has come to be regarded as enigmatic and less successful than its siblings. One reason for this has been the huge – even for Mahler – contrasts that it encompasses: from a first movement which seems to continue the atmosphere of the previous symphony, the ‘Tragic’ Sixth, to a finale that has been accused of excessive triumphalism, and which Mahler himself once described as ‘broad daylight’. Between these two poles, he supplies no less than two movements entitled Nachtmusik (‘night music’) framing a scherzo to which the composer added the character marking schattenhaft (‘shadowy’). Mahler famously said that ‘a symphony must be like the world. It must embrace everything.’ The Seventh is as true to this dictum as any other of the symphonies, offering a wealth of emotions, moods and colours. The composer makes full and imaginative use of the orchestra’s extended wind and percussion sections – including cowbells, whips and glockenspiel – as well as a mandolin and a guitar, adding a troubadour-like aspect to the nightly serenade of the fourth movement. All of this is brought to life by the players of the Minnesota Orchestra under Osmo Vänskä, as they continue a cycle praised for the performances as well as the recorded sound.
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发表于 2025-4-7 07:51:09