菜鸟的CD笔记之1《德沃夏克协奏曲全集》 [复制链接]

（连蒙带猜，估计还是有些地方译得不对。比较蹩脚，凑合着看吧）
CD1：G小调钢琴协奏曲 作品33
由于钢琴协奏曲是最近两百年来最流行的乐队演奏形式之一，自从德沃夏克成为最欢迎的作曲家，人们就理所当然的期望德沃夏克的钢琴成为世界上乐队们最受欢迎的曲目，然而，德沃夏克的钢琴协奏曲却是他的主要作品的一小部分，几乎不为人所知，第一斯拉夫舞曲或其他伟大的交响乐都出现在1876年之前，综上所述，德沃夏克从来没有按照一个乐队或朋友的要求来写东西。
他不认为他的协奏曲不和谐，四年后写的约阿希姆小提琴协奏曲是另一个亮点？还有为 Hanus Wihan 写的大提琴协奏曲都被公认为是伟大的作品之一，一个更可能的解释是德沃夏克不想写一个简单的钢琴协奏曲，而不象他同时代的其他人，并不是他的音乐思想在左右，而只是他对钢琴没有兴趣。他自己学习的是中提琴，他在贝德里克斯美塔那乐团演奏过，并且在室内乐中作用突出。
G小调钢琴并没有象其他的钢琴作曲家一样的惯用写法，如贝多芬、舒曼、李斯特、肖邦、圣桑和拉赫曼尼诺夫，等，而是将德沃夏克自己的思想贯彻在里面了。

Lyrical and dramatic elements are effectively contrasted in the firest movement(Allegro agitato) The two principal themes are extensively developed, and one of the two secondary themes is in the character of the more reflective Slavonic Dances .The cadenza makes reference to the first subject.The second movement(Andante sostenuto)is notable for its serenity:a theme of noble simplicity,stated by the horn,forms the bssis for a dialogue between soloist and orchestra which reaches no great climax, but sustains a convincing atmosphere of deep peace.
The Final(Allegro con fuoco)is the movement in which Dvoraks authorship is most immediately recognizable.An energetic but somewhat restrained quasi-rondo,it is , no unexpectedly,redolent throughout of the flavor of Czech dances,and is related thematically to the seconde of the three Slavonic Rhapsodies of Op.45(also in Gminor),composed in 1878.
ROMANCE, OP.11
MAZUREK,OP.49
The songful Romance is Dvoraks adaptation of the Andantion from his String Quartet in Fminor, composed in 1873 and unpublished during his lifetime.The volin-and-orchestra setting was created for the violinist Josef Markus some time after Dvorak had composed his Volin Concerto; a version for Volin and piano was prepared at about the same time;Setting.is prehaps not the right term here, for the Romance is not a straight arrangements of the orginal Andantino,but,as Alec Robertson points out, takes as its first tune the second subject of the slow movement of the F Minor Quartet.and the develops on its own,the chief melody is a Mendelssohnian . SOng without Word of some charm, with which is contrasted a reminiscence of the second subject in the second movement of Schuberts B-minor Symphony.


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抒情和戏剧性这两个元素被揉合在第一乐章（激动的快板）里，这两个主题在乐章中被广泛的演绎，两个次要主题之一是包含斯拉夫舞曲的特征，在华彩乐段提到的第一主题，第二乐章（绵延的行板）则是宁静的：一个简单的崇高主题，由号角所表达的，虽然从独奏者与整个乐团的对话并没达到最高潮，但却保持着一种平和及有深度的氛围。
在终曲（热烈的行板）中，德沃夏克表达的是最直接的情感，一个充满活力而又有所闷骚的回璇曲，则毫无意外的包含着捷克各地舞蹈的元素,并与主题相关的三个斯拉夫狂想曲作品（也是G小调），于1878年完成。
浪漫的小提琴 作品11
玛祖莱克小提琴 作品 49
这首歌曲浪漫是德沃夏克的小行板改编自他的F小调弦乐四重奏，于1873年完成，在世时并未发表，当德沃夏克完成他的小提琴协奏曲后，这种小提琴加乐队的配置就因小提琴手约瑟夫马库斯而产生了。而小提琴和钢琴的版本则同时准备，“配置”或许在这里不是个合适的词语，而浪漫的元素也不适合原来的小行板，但，正如亚历克罗伯逊所指出的，做为第一个调子的第二个主题的F小调缓慢部分,是他自己独创的,是门德尔松的主旋律,<无词歌>中的一些精髓,并对比了舒伯特交响乐B小调第二乐章第二主题的回忆部分。

Earlier in 1879 Dvorak composed a shorter work for violin and orchestra,which he dedicated to another of the days reigning virtuosi,the Spanish violinist and composer Pablo de Sarasate. This is the Mazurek in E minor . The Mazurek is the purest of the three basic types of mazurka , eminently well suited as framework for a brilliant display piece.
SILENT WOODS, Op 68, No5
RONDO IN G MINOR , Op,94
Before he was persuaded ( or persuaded himself ) to write the Concerto for Wihan,Dvorak provided the cellist with two shorter concerted works. The Rondo in Gminor, Op,94, was a Christmas present in 1891,originally for cello and piano - the orcchestral version following almost at once. Silent Woods (an English approximation of the more poetic German title Waldesruhe) is , like the Romance for volin and orchestra, an adaptation by dvorak of music he had composed originally in a different form, The original in this case was the fifth of the six character pieces in a suite for piano duet composed in 1884 under the title From the Bohemian Woods (Op.68).Dvorak used the same opus number for the cello version. which he arranged in 1893(again in two editions ,one with piano accompaniment and one with orchestra).

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在早些时候的1879年，德沃夏克创作了一部为小提琴和乐队而作的小品，并在日后题献给另一位小提琴翘楚，西班牙小提琴家兼作曲家P·萨拉塞蒂。这就是E小调的玛祖莱克小提琴,该最原生态的马祖克是三个基本类型所组成,显然非常适合一部伟大作品的架构.
寂静的树林，作品68，5号
G小调回旋曲，作品94
他被说服（或自己说服自己）为 Wihan写的协奏曲之前,德沃夏克为大提琴家提供了两部小作品,作为1891年圣诞节礼物的G小调回旋曲(作品94),起初是为大提琴与钢琴而作的,当然,协奏曲版本也马上被写了出来。宁静的森林（一个英语表达比德语更诗意的曲名)如同浪漫的小提琴及乐队，不同形式的原生态元素组成了德沃夏克的音乐。如其中有在1884年 由Bohemian Woods (作品.68)所作的一组从第五到第六章节的双人钢琴曲所组成，在1893年左右，德沃夏克也采用相同的大数目来标识他的大提琴版本，（如两个版本，一个是钢琴伴奏的，一个是管弦乐的）。

CD2
VOLIN CONCERTO IN  A MINOR
On New Years Day 1879 Brahms conducted the LeiPzig Gewandhaus Orchestra in the first performance of his new Violin Concerto;the soloist was his close friend Joseph Joachim,who had provided invaluable counsel during the composition of the work, which Brahms dedicated to him. In that same year Joachim invited Dvorak to compose a concerto for him . The Concerto in A minor was composed in its entirely during the summer of 1879 and was then sent to Joachim,who held the score for two full years before returning it to the composer with a list of thoughtful suggestions which were gratefully incorporated into the work .
Not suprisingly. in the light of Dvoraks newly developed but deeply sincere firendship and admiration for Brahms, the latters influence is as prominent in the Violin Concerto as the flavor of Czech folk music,though neigher of these elements in any way diminishes the striking originality and individuality which stamp the work as no ones but Dvoraks . the first movement(Allegro ma no troppo) opens boldly,with a vigorous orchestral statement of what may be regarded as the first of the two parts of the first theme-the second part following at once on the violin. The second theme . if lesser importance,bolsters the Brahmsian impression, as does the entire recapitulation section ( introduced by the soloist).There is no slack in this movement,and in terms of sheer brilliance of orchestration is wa not to be supassed by anything Dvorak wrote later.
A reflective bridge passage links the first movement to the second(Adagio ma non troppo).whose ruminative character is also reminiscent of Brahms . The princpal theme is subtle and long-lined.and its mood prevails despite the nervous interjections of a second theme which does not make much headway. Espcially effective is the antumnal glow of the horns as they recall the opening phrase at the end of the movement, the violin soaring screnely above them.

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CD2
A小调小提琴协奏曲
1879年元旦，布拉姆斯与LeiPzig Gewandhaus管弦乐团正在进行第一场小提琴协奏曲的表演，独奏者是他的好友Joseph Joachim，曾在他的作曲方面提供了很多宝贵的意见，同年，德沃夏克约阿希姆邀请他撰写协奏曲。A小调协奏曲于1879年夏天完成，并被送到了Joachim，后者两年之后随同一大堆细致的建议还给了作者，并被作者进行了修改。
毫无疑问的，德沃夏克新的变化深受勃拉姆斯的真擎友情及钦佩的影响，后者的影响主要是德沃夏克的小提琴协奏曲加入了捷克民族音响的味道，虽然这些元素可能削弱作品的原创性及突出性的特点，但却削弱不了德沃夏克。第一乐章的（不太快的行板）开放且大胆，有活力。第一主题的第二部分的头两小单元的小提琴可以视为是有力的管弦乐表达方式（有点拗口）。第二主题则有勃拉姆斯的痕迹。同样整个重温节（由独奏引入的）是不散漫的，其配乐的辉煌在德沃夏克之后的作品再也没有超越过这个作品的了。
第一、二乐章的联接（不太快的行板），其反思的特征，也充满了勃拉姆斯的痕迹，其主题是微妙及闷骚的。他这种的常用描述方法尽管在第二主题没有多大的进展及发展到高潮，但有趣的是圆号的运用呼应了结束部分的开头。而在所有乐器之上的则是安详的小提琴。


While the Finale(Allegro giocoso,ma non troppo)surely had the last movement of the Brahms Concerto as its model, it is in this movement that the Czech folk element is most strongly felt,Dvorak had written his first set of Slavonic Dances only a year before undertaking the Violin Concerto , and the spirit of the furiant informs this dazzling rondo,in which one of the esisodes man be likened to a dumka,no fewer than a half-dozen attractive themes are to be heard,with the astonishing rhythmic vitality emphasized now by izzicato strings,now by the timpani,now by drone effects simulating peasant bagpipes,The movement could almost stand by itself as a grand Slavonic fantasy in which the violin is master of the revels .
The Swiss musicologist Antoine-Elisee Cherbuliez,commenting on this Concerto,wrotehe Czech village and the constructive spirtit of the Beethoven sonata are the lasten poles of Dvoraks inspiration. The natural musician of the people is here closely connected with the artist using a form of neraly classical serverity.

CELLO CONCERTO IN B MINOR,Op.104

The finest of Dvoraks concertos -and the greatest of all concertos for the cello - was composed in New York between November 8.1894, and February 9,1895;the final movement was substanitally revised after his return go Prague in June of the latter year. Like the other works composed during his three-year sojourn in the United States as direstor of the National Conservatory - the Symphony From the New World,the so-calledAmerican Quartet,the masterly Viola Quinitet in E-flat-the Cello Concerto is studded with striking themes whose character might suggest either American Indian  or Czech origin,but which are in fact Dvoraks own creation . The only borrowed tune in the work is one he borrowed from himself (in the second movement).the mood of the Concerto is more Czech than American , surely , but the impetus for its cerattion came in large measure from Dvorak s encounter with the work of an American musician,the Irish-bron,German-trained Victor Herbert.

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由于终曲（诙谐的快板、不太快的快板）有典型的勃拉姆斯最后乐章的模式，你可以强烈的感受到其中加入了捷克民族音响的元素。在答应写小提琴协奏曲一年之后，德沃夏克写了斯拉夫舞曲的第一组。福瑞安舞曲充满了这部耀眼的回旋曲，其中一个插曲被比喻为杜姆加？？？少于半打吸引力的主题是较少受到重视，其中惊人表现力和节奏体现为拨奏弦，由定音鼓、drone效果、摸拟风笛等，几乎使自己成为盛大斯拉夫狂想小提琴中狂欢的主人。（这段实在有点看不懂）
瑞士的音乐学者Antoine-Elisee Cherbuliez对此协奏曲评论中写到：捷克民间风格与贝多芬奏鸣曲的元素组成了德洛夏克的潜在灵感。人民的音乐家在这里紧密结合了古典音响的形式。
B小调大提琴 作品104
最好最大的德沃夏克大提琴作品，于1894.11.8至1895.2.9号于纽约完成，在下一年九月他返回布拉格之前做了大幅的修改，与其他作品一样，在他当美国全国音乐学院董事短暂的三年里，--来自新世界交响乐团，即所谓的美国四重奏，精美的中提琴五重奏降E -大提琴协奏曲的主题巧妙的融合了美洲印第安人及捷克民族的元素。但其实这些都是由德沃夏克自己创作的。唯一借鉴的一段来自他自己（第二乐章），协奏曲中的感情也是捷克多于美国，可以肯定的是，德沃夏克的创作动力是来自于与一爱尔兰出生，在德国学艺的美国大提琴家维克多·赫伯特

Although Dvoraks very first attempt at writing a concerto had been a cello concerto he drafted at the age of twenty-four,he declared that until he heard the Herbert Concerto,he had felt the cello to be an ungrateful instrument for concerto tradement,Even during the writeing of the B-minor Concerto,he told friends he had undertaken the work only at the insistence of his friend Hanus Wihan,who had repeatedly asked him for a concerto,and for whom he had already produced two shorter pieces for cello and orchestra.

Dvoraks greatest gift to Wihan,ironically,led to complications in their relationship.When Wihan received the score of the Cello Concerto he proceeded to write an elaborate cadenza for the final movement; the composers firm refusal to permit such an interpolation precipitated stained feelings for a time , and the honor of both the world premiere in London (March 10,1896,Dvorak conducting) and the subsequent Prague premiere went to another cellist,Leo Stern , Wihan, of course,had to acknowledge the Concerto as a masterwork,and the gave the first of his many performances of it in January 1899 in the Hague, with Willem Mengelberg conducting.

The majestic character of this work is made clear at once in elaborate orchestral exposition which opens the first movement(Allegro).prominent at the outset are the clarinets which are to figure conspicuously throughout the work(the cello in combination with clarinets and bassoons at various points establishes and enhances the pervasively warn color of the Concerto); they state the imposing principal theme,which in immediately taken up by the full orchestra (grandiosois the marking here ).Then the form introduces the lyrical but no less magnificent second theme,and a third, dancelike motif is beard in the orchestra before it subsides for the dramatic entrance of the cello in an impassioned statement of the principal theme(quasi improvisando).The ensuting treatment of thest materials is heroic in scale,but never larger than lifeWhile virtuosity is demanded in huge proportions, there is no concession in the form of a cadenza:the Movement


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虽然德沃夏克在24岁时第一协奏曲之前起草了第一部大提琴协奏曲，他宣称，直到他听到赫伯特协奏曲之前，他觉得，应该是大提琴表达的东西太过于悲伤，在他写B小调协奏曲时，他告诉他的朋友wihan，只有在他的要求下才写大提琴协奏曲，随后他和朋友写了两个较短的大提琴和管弦乐作品。

虽然德沃夏克送过大礼物给wihan，讽刺的是，在他们之间的关系很复杂，在wihan得到了大提琴协奏曲的最后一个乐章的华彩乐段的评价时，作曲家公司拒绝允许这种太过于渲染感情的东西在伦敦世界首演（3月10,1896，德沃夏克指挥）和随后的布拉格首演由另外大提琴手(不得不承认是部好作品)，Leo Stern , Wihan协同 Willem Mengelberg 于1899年1月在海牙首演.

这个作品的鲜明主题是第一篇的第一乐章（快板）中强调了管弦乐器的使用。在一开始就突出的是单簧管。（在单簧管和巴松管与大提琴组合给曲目带来了温暖的氛围），而表达的主题则由全面乐团的突然爆发来表现（这里是壮丽而雄伟的）。然后采用了抒情的手法，而更宏伟的第二个主题，第三主题是乐团的胡子的欢快舞蹈之前，加入了大提琴的激情绎。高端们都被要求采用巨大的比例来表达华彩乐章，接着的是交响的表现形式到结束,其中还有一个主题是由辉煌的小号和鼓来表达.

continues symphonicallyto the end , in which the principal theme is apotheosized with a resounding flourish of trumpets and drums.

The slow movement(Adagio ma non troppo) begins with a soothing theme presented by the woodwinds,soon to be taken up by the cellos and clarinets.The mood of repose in dispelled momentarily by a forceful orchestral declamation before the second theme appears:this is the one Dvorak borrowed from himself , the theme,only slightly altered,of the first of the four songs of his Op.82 set, called Leave me alone (or more euphoniously, Let me wander alone with my dreams).The song was a favourite of Dvoraks sister-in-law , of whom he wa quite fond;she wa seriously illwhen he was working on the revision of the Concerto eraly in 1895, and he wrote the theme into the work then as a gesture of affectionate concern,When she died , in May of that year,Dvorak composed a new ending for the final movement in which the theme reappears , and this probably accounted for his irriation as much as purely musical considerations when Wihan wanted to intrudehis candenza.

The Finale(Allegro moderato)is a jubilant and vigorous rondo,not without marital overtones.According to some commentators , its robust spirit -not unlike that of the Slavonic Rhapodies-may have had something to do with Dvoraks happy anticipation of his return home. The movement begins with simple but glorious theme stated by the horns over the marchlike trade of the lower strings;in no time the theme makes its way to the full orchestra and then to the cello itself . From the point on there is a heady succession of new themes , some energetic,some lyrical,one glowingly shared by the cello and the solo violin.The coda is best described by dvorak himselfhe Finale closes with a gradual diminuendo,like a breath - with reminiscences of the first and second movements , the solo dying down to pp . Then the sound begins to grow , and the last bars are thake over by the orcheastra,which provides a tempestuous ending
RICHARD FREED


缓慢的章节(不太快的快板)由木管乐器引入舒缓的主题，接着由大提琴和单簧管演奏。这种缓慢的心情之后由一个瞬间出现的管弦乐带入了第二主题：这种表达方式来自于德沃夏克自己的一个主题，只是对他28作品集的四首歌曲中的第一首稍微改变了下，称为“让我一个人孤单”（or more euphoniously，让我独自重温我的梦想）。这首歌是德沃夏克嫂嫂的最爱，而德沃夏克也很爱慕他的嫂嫂，在1895年早些时候当他修改他的协奏曲的时候，她已经病重了，德沃夏克将他对嫂嫂的深情写入了协奏曲中的主题中，在她死的哪年五月，德沃夏克为他的终曲完成了一个新的结尾，这或者是纯音响性的表现，而wihan则考虑引入他的乐章里。

终曲（中速的快板）也是一个喜庆和活力回旋曲（但没有婚礼的元素在里面），一些评论家认为，其强大的精神而不是斯拉夫狂想曲的是，可能有一些是与德沃夏克预测他将高兴地回家有关。乐章一开始，圆号奏出简明却辉煌的主旋律，弦乐在低声部做进行曲式的呼应,不久，主题由整个乐团的表现转为大提琴本身。这一个新的主题有个高潮的交替，有时充满活力，有时很抒情，大提琴与独奏小提琴的对话．而尾声正是德沃夏克自己所描写的：终曲的结尾，象逐渐变弱，与第一和第二乐章的呼应，独奏小提慢慢变弱。接着，声音也开始变大，乐团做最后的爆棚，作出了一个汹涌的结局
　　　　　　
RICHARD FREED　(不知道是啥鸟人）．．．

这样的帖子太少了

很多东西都看不懂啊，希望能有高手来指点下。。。

年轻时第一次听的德沃夏克大协就是这款奈尔索娃的大提琴，苏斯金德指挥圣路易斯交响乐团的录音。听后顿时“坠入琴网”。那年头听的还是磁带，中国还没有CD卖呢。多年后又回过头来听的这款CD录音，和许多别的版本相比，已觉得不够水准了。个人之见。

很喜欢德沃夏克的钢协和小协，可惜真正优秀的演绎很难找到，这两个曲目相对大协冷了些。

NELSOVA 还有一个KRIPS指挥的德沃夏克大协，哪位大侠比较过

原帖由 chrisspher 于 2010-7-5 21:09:00 发表 很喜欢德沃夏克的钢协和小协，可惜真正优秀的演绎很难找到，这两个曲目相对大协冷了些。

他的钢琴协奏曲还是这个好，媳妇的也可以。

里赫特的钢协，还有米尔斯坦的小协

Joseph Joachim 约阿希姆，19世纪伟大的小提琴家，勃拉姆斯的小协也是题献给他的。

Earlier in 1879 Dvorak composed a shorter work for violin and orchestra,which he dedicated to another of the days reigning virtuosi,the Spanish violinist and composer Pablo de Sarasate.
在早些时候的1879年，德沃夏克创作了一部为小提琴和乐队而作的小品，并在日后题献给另一位小提琴翘楚，西班牙小提琴家兼作曲家P·萨拉塞蒂。

Song without Word 一般译作“无词歌”，很美的钢琴小品集，可听DG巴伦博伊姆版

Waldesruhe：德语，寂静的森林

and its moon prevails despite…… 这里moon必须该是mood，lz再看看booklet。

dumka：德沃夏克创作的一首三重奏。

an American musician,the Irish-bron,German-trained Victor Herbert
爱尔兰出生，在德国学艺的美国大提琴家维克多·赫伯特。可参考：http://cn.last.fm/music/Victor+Herbert

grandiosois：意大利语，演奏表情标记，雄伟的，壮丽的。

The movement begins with simple but glorious theme stated by the horns over the marchlike trade of the lower strings
乐章一开始，圆号奏出简明却辉煌的主旋律，弦乐在低声部做进行曲式的呼应

高手啊。。。

小协，米尔斯坦、奥胖都有录音，而个人最喜欢马茨/Fricsay的DG版本。

楼上说得没错! 马茨/Fricsay的DG版本确实非常好!

也推介 RSR:
RSR6205 (2CD=1.5CD價)


莫札特：第27号鋼琴協奏曲( 哈斯姬兒 / 克倫貝勒)
布拉姆斯: 小提琴協奏曲( 史坦 / 克路易坦)
貝多芬：第4号鋼琴協奏曲( 肯普夫/ 凱爾伯特)
德弗札克: 小提琴協奏曲( 米爾斯坦 / 克雷斯基)
l
1956年{SEPTEMBRE
MUSICAL音樂節~3}實況
l
名家滙聚,黃金陣容, 原味十足
瑞士原装裝進口,原廠母帶精心轉製

原帖由 sanlue 于 2010-7-5 22:45:00 发表 Joseph Joachim 约阿希姆，19世纪伟大的小提琴家，勃拉姆斯的小协也是题献给他的。 Earlier in 1879 Dvorak composed a shorter work for violin and orchestra,which he dedicated to another of the days reigning virtuosi,the Spanish violi

非常感谢!已经对原贴进行了修改!第一次静下心来仔细看这些东西,觉得能力还是相当有限,真是学海无涯啊.但这次都给了我不小的收获!!!

呵呵，大家相互学习，为建设和谐论坛做贡献