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艺术家：伊夫林·罗斯韦尔、普罗艺术管弦乐团、约翰·巴比罗利爵士
标题：普罗艺术管弦乐团 阿尔比诺尼、马尔切洛与奇马罗萨：意大利双簧管协奏曲（重新灌录版）
发行年份：1966年
厂牌：华纳古典
流派：古典
音质：FLAC（分轨）/24位-192kHz FLAC（分轨）
总时长：37分59秒
总大小：196兆字节/1.41吉字节
网站：专辑预览
曲目列表
01. 阿尔比诺尼：降B大调双簧管协奏曲，作品7第3号：I. 快板（3:13）
02. 阿尔比诺尼：降B大调双簧管协奏曲，作品7第3号：II. 柔板（3:19）
03. 阿尔比诺尼：降B大调双簧管协奏曲，作品7第3号：III. 快板（2:19）
04. 阿尔比诺尼：D大调双簧管协奏曲，作品7第6号：I. 快板（2:56）
05. 阿尔比诺尼：D大调双簧管协奏曲，作品7第6号：II. 柔板（2:39）
06. 阿尔比诺尼：D大调双簧管协奏曲，作品7第6号：III. 快板（2:19）
07. 马尔切洛：D小调双簧管协奏曲（罗斯韦尔改编，以C小调演奏）：I. 中板快板（3:25）
08. 马尔切洛：D小调双簧管协奏曲（罗斯韦尔改编，以C小调演奏）：II. 柔板（4:48）
09. 马尔切洛：D小调双簧管协奏曲（罗斯韦尔改编，以C小调演奏）：III. 快板（2:12）
10. 本杰明与奇马罗萨：C小调双簧管协奏曲：I. 引子，小广板（2:48）
11. 本杰明与奇马罗萨：C小调双簧管协奏曲：II. 快板（2:06）
12. 本杰明与奇马罗萨：C小调双簧管协奏曲：III. 西西里舞曲（3:08）
13. 本杰明与奇马罗萨：C小调双簧管协奏曲：IV. 快板（2:51）
约翰·巴比罗利爵士（1899–1970）生于伦敦，父母为意大利-法国人后裔。他早年以大提琴手身份受训，曾在剧院和咖啡馆管弦乐团演奏，1916年加入亨利·伍德爵士指挥的女王大厅管弦乐团。1924年，他组建个人乐团，开启指挥生涯。1926至1933年间，他活跃于科文特花园等地的歌剧指挥领域。此后历任多个乐团指挥职位：苏格兰管弦乐团（1933–36）、纽约爱乐乐团（1936–42）、哈雷管弦乐团（1943–70）及休斯顿交响乐团（1961–67）。巴比罗利常受邀指挥全球顶尖乐团，尤其以诠释马勒、西贝柳斯、埃尔加、沃恩·威廉斯、戴留斯、普契尼与威尔第的作品著称，录制过大量经典唱片，包括勃拉姆斯与西贝柳斯交响曲全集，以及威尔第、普契尼的歌剧和众多英国作品。
巴比罗利接触古斯塔夫·马勒的音乐较晚。1930年，他在别人的排练中首次听到马勒第四交响曲，当时认为其风格单薄（尤其与柏辽兹、瓦格纳相比）。职业生涯早期，他仅偶尔涉足马勒作品——如1931年在伦敦皇家爱乐协会音乐会上为女歌手埃琳娜·格哈特伴奏《亡儿之歌》。直至1946年，他才在哈雷管弦乐团的第三个乐季中加入《大地之歌》。1952年，乐评人内维尔·卡杜斯（其好友）提及汉密尔顿·哈蒂爵士任哈雷指挥期间（1920–33）曾首演马勒第九交响曲，力劝巴比罗利尝试指挥该作。卡杜斯称，这是“最适合他的作品”。两年后，巴比罗利首次指挥马勒交响曲，由此开启16年对马勒作品的全心投入（除第八交响曲外均有涉猎）。他后来录制了马勒第一、五、六、九交响曲的商业录音，其他几部的广播录音也已发行CD。
交响曲贯穿巴比罗利的余生，甚至可能影响了他的健康——他需在本已繁忙的日程中挤出大量时间研究作品。他认为，掌握一部马勒交响曲需18个月至两年，演出前会花数小时逐一审校所有弦乐声部的弓法。“若想出色演绎马勒，其音乐必须融入你的血脉，”他说，“晚年能发现如此宏大的作品是我的荣幸。当然，通读总谱无需两年，但要驾驭如此浩瀚的音乐宇宙，必须明晰每个乐思的起承转合，以及它们如何构成整体……”为此，1956年他花数日背诵马勒第二交响曲的合唱终章，尽管首演计划在1958年5月才进行。
尽管天生擅长歌剧指挥，巴比罗利的歌剧指挥生涯主要集中在早期。1926至1933年间，他与英国国家歌剧院、卡尔·罗莎歌剧团及科文特花园合作，积累了约20部歌剧的指挥经验，其中包括瓦格纳的《纽伦堡的名歌手》——他曾携该剧赴外省巡演，并在科文特花园指挥。1931年，他与伊丽莎白·舒曼、劳里茨·梅尔基奥尔、弗里德里希·肖尔等歌唱家录制的《五重唱》成为这段经历的经典纪念。此后他虽未再于歌剧院指挥该剧，但其序曲成为他音乐会的常备曲目，尤其是与哈雷管弦乐团的重要演出：1943年，他正是选择该序曲开启了仅用四周重组并复兴的哈雷乐团的首场音乐会。
直至1960年代（其职业生涯最后十年），他才重获机会指挥钟爱的歌剧总谱。当时计划录制普契尼的《曼侬·莱斯戈》，颇具讽刺意味的是，还有《纽伦堡的名歌手》，但均未成行。不过，他成功录制了威尔第的《奥赛罗》（幸甚至哉，其父亲与祖父均参与过1887年该剧在斯卡拉歌剧院的首演）和《蝴蝶夫人》，此外还有珀塞尔的《狄多与埃涅阿斯》。
埃尔加的《谜语变奏曲》与巴比罗利同年诞生，这一巧合令他格外珍视，该作也成为其保留曲目的核心。他在全球各地热忱演绎此曲，直至1969年仍致信好友迈克尔·肯尼迪：“许久未演《谜语》，再度接触仍为之倾倒。”他曾在78转唱片时代录制两次，立体声时代又于1956年和1962年两度录制。1956年版《谜语变奏曲》细腻、庄重又激昂，与同期演绎的埃尔加第一交响曲、《引子与快板》同为不朽诠释。他对拉威尔《鹅妈妈》的精致演绎，亦彰显其对法国曲目的敏锐把控——此时他与哈雷乐团的合作正值巅峰，乐手对其艺术想象高度契合且响应精准。
巴比罗利在EMI的唱片目录极为丰富，收录了他所有重要录音，许多收录于“英国作曲家”系列中。
演奏者
伊夫林·罗斯韦尔，双簧管
伦敦普罗艺术管弦乐团
指挥：约翰·巴比罗利爵士
数字重新灌录
Artist: Evelyn Rothwell, Pro Arte Orchestr, Sir John Barbirolli
Title: Albinoni, Marcello & Cimarosa: Italian Oboe Concertos (Remastered)
Year Of Release: 1966
Label: Warner Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 37:59
Total Size: 196 MB / 1.41 GB
WebSite: Album Preview
Tracklist:
01. Albinoni: Oboe Concerto in B-Flat Major, Op. 7 No. 3: I. Allegro (3:13)
02. Albinoni: Oboe Concerto in B-Flat Major, Op. 7 No. 3: II. Adagio (3:19)
03. Albinoni: Oboe Concerto in B-Flat Major, Op. 7 No. 3: III. Allegro (2:19)
04. Albinoni: Oboe Concerto in D Major, Op. 7 No. 6: I. Allegro (2:56)
05. Albinoni: Oboe Concerto in D Major, Op. 7 No. 6: II. Adagio (2:39)
06. Albinoni: Oboe Concerto in D Major, Op. 7 No. 6: III. Allegro (2:19)
07. Marcello: Oboe Concerto in D Minor: I. Allegro moderato (Arr. Rothwell, Performed in C Minor) (3:25)
08. Marcello: Oboe Concerto in D Minor: II. Adagio (Arr. Rothwell, Performed in C Minor) (4:48)
09. Marcello: Oboe Concerto in D Minor: III. Allegro (Arr. Rothwell, Performed in C Minor) (2:12)
10. Benjamin & Cimarosa: Oboe Concerto in C Minor: I. Introduzione. Larghetto (2:48)
11. Benjamin & Cimarosa: Oboe Concerto in C Minor: II. Allegro (2:06)
12. Benjamin & Cimarosa: Oboe Concerto in C Minor: III. Siciliana (3:08)
13. Benjamin & Cimarosa: Oboe Concerto in C Minor: IV. Allegro (2:51)
Born in London of Italian-French parents, Sir John Barbirolli (1899–1970) trained as a cellist and played in theatre and café orchestras before joining the Queen’s Hall Orchestra under Sir Henry Wood in 1916. His conducting career began with the formation of his own orchestra in 1924, and between 1926 and 1933 he was active as an opera conductor at Covent Garden and elsewhere. Orchestral appointments followed: the Scottish Orchestra (1933–36), the New York Philharmonic (1936–42), the Hallé Orchestra (1943–70) and the Houston Symphony (1961–67). Barbirolli guest conducted many of the world’s leading orchestras and was especially admired as an interpreter of the music of Mahler, Sibelius, Elgar, Vaughan Williams, Delius, Puccini and Verdi. He made many outstanding recordings, including the complete Brahms and Sibelius symphonies, as well as operas by Verdi and Puccini and much English repertoire.
Barbirolli was a late convert to the music of Gustav Mahler. He had first come across it in 1930 when the Fourth Symphony, as heard for the first time at somebody else’s rehearsal, struck him as being thin, certainly by comparison with Berlioz and Wagner. After some early excursions at the beginning of his career – such as in 1931, when he conducted the Kindertotenlieder for Elena Gerhardt at a Royal Philharmonic Society concert in London – Mahler scarcely even figured in his programmes until 1946, when he included Das Lied von der Erde in his third season with the Halle Orchestra. Then in 1952 his friend, the critic Neville Cardus, recalling that Sir Hamilton Harty had given England its first hearing of the Ninth Symphony during his reign as Hallé conductor (1920–33), urged Barbirolli to consider conducting it himself. It was, said Cardus, “the ideal work” for him. Two years later the thing happened: moreover, that first-ever performance by Barbirolli of a Mahler symphony opened the floodgates to a 16-year period in which he embraced them all save No.8. The First, Fifth, Sixth and Ninth he subsequently recorded commercially, and radio recordings of several of the others have also appeared on CD.
The symphonies preoccupied Barbirolli for the rest of his life, possibly even to the detriment of his health, as the vast periods of time he spent studying them had to be squeezed into an already hopelessly overcrowded schedule. He reckoned that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances. "If you want to conduct Mahler well his music must be under your skin and in your bones", he said, adding: "It is a joy to me in my advancing years that I have found something which […] is of such mighty dimensions. Of course, it does not take two years to read these scores, but if you prepare for a journey through such immeasurably wide musical spheres, you must know exactly where the musical ideas begin and where they end and how each fits into the pattern of the whole […]." To this end he spent several days in 1956 memorizing the choral finale of the Second Symphony, despite the fact that his first attempt upon it was not scheduled until May 1958.
Although a born opera conductor, most of Barbirolli’s operatic conducting was confined to the early years of his career when, between 1926 and 1933, he amassed a repertoire of 20 or so operas while working with the British National Opera, Carl Rosa and Covent Garden companies. Among them was Wagner’s Die Meistersinger, which he toured to the provinces and conducted at Covent Garden: a celebrated souvenir of these performances exists in his 1931 recording of the Quintet with Elisabeth Schumann, Lauritz Melchior and Friedrich Schorr, no less, among the singers. Although he never again conducted the work in the opera house, its overture became a staple of his concert programmes, especially for significant occasions with the Hallé: indeed, in 1943 he chose it to launch the very first concert of the orchestra he had reformed and revitalized in just four weeks.
It was not until the 1960s, during his last decade, that the opportunity to take up again the old operatic scores he loved so deeply came his way. Puccini’s Manon Lescaut and, ironically, Die Meistersinger were among the operas planned for recording by him at this time, but although neither project materialized he did manage to record (besides Purcell’s Dido and Aeneas) Verdi’s Otello – happily bringing the family wheel full circle, as both his father and grandfather had played in the opera’s première at La Scala in 1887 – and Madama Butterfly.
The happy coincidence that Elgar’s Enigma Variations dated from the same year as his birth delighted Barbirolli, and the work became a cornerstone of his repertoire. He conducted it zealously all over the world, and it is a measure of his love for the music that even as late as 1969 he could still write to his friend Michael Kennedy: "I hadn’t done the Enigmas for some time and was completely bowled over by them again." He recorded the work twice on 78s, and twice more during the stereo era, in 1956 and 1962. Completely memorable accounts of Elgar’s Symphony No.1 and Introduction and Allegro date from this period, and this 1956 version of the Enigma Variations, delicate, noble and thrilling by turns, is unquestionably in the same category. His cultivated reading of Ma Mère l’oye, too, reveals a master conductor at work, with an equally fastidious ear for the French repertoire; he and the Hallé were at the peak of their association at this time, with the players wonderfully attuned and responsive to his artistic imagination.
Barbirolli's current EMI discography is extensive and comprises all of his great recorded performances, many in the British Composers series.
Evelyn Rothwell, oboe
Pro Arte Orchestra Of London
Sir John Barbirolli, conductor
Digitally remastered
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