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艺术家：布鲁诺·瓦尔特
作品名称：《布鲁诺·瓦尔特指挥莫扎特作品》
发行年份：1961年[2012年再版]
厂牌：HDTT
音乐类型：古典音乐
音质：FLAC（分轨）| 24比特/192千赫兹
总时长：00小时44分28秒
总大小：1.81吉字节（含3%纠错码）
网站：专辑预览
布鲁诺·瓦尔特（1876 - 1962）传承了马勒将莫扎特作为成熟且极具分量的作曲家来演绎的传统。在20世纪初，情况并非总是如此；瓦尔特与托马斯·比彻姆爵士、奥托·克伦佩勒以及卡尔·伯姆一道，助力莫扎特的作品原汁原味、毫无瑕疵地走进了现代，他的演奏散发出温暖、智慧，以及一种强烈的自信，打破了人们对莫扎特“洛可可风格”或“阴柔”的刻板印象。瓦尔特将他六十年的指挥经验融入每一个强拍、每一个小节之中，即便五十年后的今天，我们仍能对其成果惊叹不已。美妙、深邃、精准、富有节奏弹性，甚至莫扎特音乐中的幽默元素，都在瓦尔特天赋异禀的指挥下，与有史以来最出色的录音室乐团——哥伦比亚交响乐团的默契演奏完美融合。乐团那弦乐声部尖锐而透彻的音色，驱散了有时会困扰美国退伍军人协会礼堂的干涩音响效果。如果说瓦尔特无愧于“人性的指挥家”这一称号，那么除了他对马勒、布鲁克纳以及德国伟大音乐传统的精湛演绎之外，他对莫扎特作品的诠释更是巩固了他不朽的形象。
莫扎特1787年广受欢迎的G大调小夜曲《小夜曲》，有着一个德语标题，而非像他的大多数嬉游曲和小夜曲那样是意大利语标题。阿尔弗雷德·爱因斯坦曾提出一个巧妙的观点，认为莫扎特创作这部作品可能是为了纠正他不久前创作的《音乐玩笑》（作品K. 522）。在《音乐玩笑》中，莫扎特兴高采烈地对当时所有神圣不可侵犯的音乐创作规则嗤之以鼻，而精致迷人的《小夜曲》却一丝不苟地遵循着这些规则。莫扎特为弦乐合奏团创作了一部微型的四乐章交响曲，第一乐章是奏鸣曲式的快板，第二乐章是回旋曲式的慢板，还有保留下来的小步舞曲，以及奏鸣曲式的回旋终曲。第二乐章“浪漫曲”在C小调的中部引入了一些夜的暗影，而这部作品在其他方面堪称是在温暖夏夜中放松愉悦心情的理想音乐表达。
除了各种歌剧精彩的序曲之外：1786年的《费加罗的婚礼》序曲并未使用歌剧中的任何主题素材，但其活泼多彩的活力——看看哥伦比亚广播公司录制版本中的巴松管部分便可知——绝妙地捕捉到了这部作品的精髓。莫扎特为《剧院经理》（1786年）创作的音乐与他创作《费加罗的婚礼》的时期重合，同样展现出幽默和充满活力的特质。1790年的《女人心》打破了“不忠的爱情”这一传统观念，用一连串的讽刺和伪装来展现其中的奇思妙想。序曲洋溢着整部歌剧中无处不在的欢快智慧，在开头的和弦之后，双簧管吹奏出一段假装多愁善感的曲调。第二幕中男士们所唱的“女人皆如此”这句歌词随后在低音弦乐声部中呈现，序曲在闪烁的木管乐器和弦乐器的伴奏下，以欢快的急板结束。1791年的歌剧《魔笛》，其共济会主题是通过兄弟情谊追求人类的完美，这在很大程度上体现了布鲁诺·瓦尔特内在的人文主义精神。伟大的莫扎特研究学者阿尔弗雷德·爱因斯坦曾写道，莫扎特在这部序曲中浓缩了人类的所有挣扎与胜利。然而，尽管其具有象征意义和精神内涵，音乐仍保留了一种精致的童话氛围。莫扎特的对位法以及他那始终如一的魅力中，总是蕴含着一种灵动，仿佛是作曲家内在优雅的外在体现，给予听众祝福。C小调的《共济会葬礼音乐》（作品K. 477，1785年）向我们展示了莫扎特截然不同的音乐形象，接近《唐璜》中黑暗的精神特质，但同样也被《安魂弥撒曲》中对死亡的思考所渲染。
曲目：
1) 《小夜曲》 15分39秒
2) 《剧院经理》序曲 4分00秒
3) 《女人心》序曲 4分52秒
4) 《费加罗的婚礼》序曲 4分42秒
5) 《魔笛》序曲 7分32秒
6) 《共济会葬礼音乐》 7分45秒
演奏人员：
布鲁诺·瓦尔特
哥伦比亚交响乐团
Artist: Bruno Walter
Title: Bruno Walter conducts Mozart
Year Of Release: 1961 [2012]
Label: HDTT
Genre: Classical
Quality: FLAC (Tracks) | 24 Bit/192 kHz
Total Time: 00:44:28
Total Size: 1,81 GB (+3%rec.)
WebSite: Album Preview
Bruno Walter (1876-1962) carried on Mahler's tradition of conducting Mozart as a mature, substantial composer. This was not always the case at the start of the 20th Century; and along with Sir Thomas Beecham, Otto Klemperer and Karl Bohm, Walter helped bring Mozart into the modern era untouched and untarnished, performances that exude warmth, intelligence, and a robust assertiveness that belies anything like a “rococo” of “effeminate” vision of Mozart. Walter puts into each downbeat the sinew of his sixty years of experience into every bar, the result of which we can still marvel at fifty years later. Beauty, depth, precision, rhythmic flexibility, and even Mozart's humor knit together flawlessly by Walter's gifted hands and the responsive playing of the best recording studio band ever -- the Columbia Symphony Orchestra. Those studio orchestra strings, incisive and piercing, dispel the dry acoustic that could sometimes plague American Legion Hall. If Walter could claim to have earned his epithet, “the conductor of humanity,” it remains his Mozart, even beyond his mastery of Mahler, Bruckner, and the Great German Tradition, that confirms his enduring image. Mozart’s eternally popular 1787 G Major Serenade, “Eine kleine Nachtmusik” bears a German title rather than one in Italian, as most of Mozart’s other cassations and divertimenti. Alfred Einstein came up with the ingenious suggestion that Mozart might have composed it as a corrective to his A Musical Joke, K. 522, written shortly before. In A Musical Joke, Mozart gleefully thumbed his nose at all the hallowed rules of musical composition of his day, while the refined and charming Eine kleine Nachtmusik follows those rules meticulously. Mozart gives us a miniature four-movement symphony for string orchestra, with a sonataallegro first movement, a slow movement in rondo form, the surviving minuet,
and a sonata-rondo finale. The second movement Romance introduces a few nocturnal shadows in its C-minor middle section to a work that is otherwise an ideal music expression of the relaxed pleasures of a balmy summer evening Besides the brilliant overtures to various operas: the 1786 Le Nozze di Figaro does not make use of any thematic material from the opera itself, but its vivaciously colorful energy--witness the CBS bassoon part--captures the essence of the work superbly. Mozart’s music for Der Schauspieldirektor (1786) coincides with his work on Le Nozze di Figaro and bears the same capacity for humor and athletic verve. The 1790 Cosi fan tutte explodes the conventions of “unfaithful love,” submitting the conceits to a cascade of irony and masquerade. The Overture confers the ebullient wit abounding throughout the opera, accompanied by a mock sentimental tune played by the oboe after the opening chords. The phrase “cosi fan tutte,” as sung by the men in Act II, is then stated in the low strings, and the Overture whirls to an effervescent presto conclusion with sparkling woodwinds and strings. The 1791 opera The Magic Flute, with its Masonic themes of striving for human perfection through brotherhood, realizes much of Bruno Walter’s innate humanism. The great Mozart scholar Alfred Einstein once wrote that Mozart had compressed into this Overture all the struggle and victory of mankind. Yet, despite its symbolism and spirituality, the music preserves a delicate fairytale atmosphere. There is always a quicksilver in Mozart’s counterpoint and in his unfailing charm, which blesses the listener like an outward manifestation of the composer’s inward grace. The Masonic Funeral Music (1785) in C Minor, K. 477 presents us with an entirely transformed musical persona in Mozart, close to the dark spirit of Don Giovanni but no less colored by the mortality of the Requiem Mass.
Tracks:
1) Eine kleine Nachtmusik 15:39
2) The Impresario Overture 4:00
3) Cosi fan tutte Overture 4:52
4) The Marriage of Figaro Overture 4:42
5) The Magic Flute Overture 7:32
6) Masonic Funeral Music 7:45
Personnel:
Bruno Walter
Columbia Symphony Orchestra
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发表于 2025-4-11 08:25:51