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- 2008-04-20
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发表于 2010-07-05 20:35
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（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The songful Romance is Dvoraks adaptation of the Andantion from his String Quartet in Fminor, composed in 1873 and unpublished during his lifetime.The volin-and-orchestra setting was created for the violinist Josef Markus some time after Dvorak had composed his Volin Concerto; a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,wrote he 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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