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一套钢琴经典录音(ELLY NEY) [复制链接]

1#

倘若不是被傳言為鐵桿女NAZI,Elly Ney现在的国际声誉恐怕不下于她那些显赫的同门,连Philip洋洋洒洒的伟大钢琴家系列也没有她,她早年的录音被一些公司零星地出过,实际很少。她的艺术中蕴含着独立、磅礴的要素,除了赞美,更有人批评她的艺术“古板”、“木讷”,然而真正聆听她的艺术却是传统信仰的虔诚感与酣畅灵动的歌唱性。当然最显著对她的攻击是她的政治立场,跟卡拉扬、富特这些艺术家不同,Elly Ney在艺术上是传统的格守者与心灵自然回归演奏者,而政治上是彻底的激进派,甚至一直到死,她仍在堅持她的“民族觀”,可是奇怪的是,虽然一生活动在德国,她竟然连希特勒的面都没见过。

简介:

Elly Ney (27.9.1882-31.3.1968),出生于Dusseldorf的一个音乐家庭,童年在贝多芬的出生地波恩(Bonn)渡过。1892年开始相继接受多位老师的施教:在科隆(Cologne)是Franz Wullner和Isidor Seiss,在维也纳是Theodor Leschitizky和Emil von Sauer,Sauer是李斯特的学生,因此Ney成为李斯特的徒孙(不过考虑到Leschitizky的关系,Ney跟Sauer可是同辈)。此外,她还跟过Carl Friedberg (1872-1955)学习。

Elly Ney 1904年开始了遍及整个欧洲的一系列成功的演出,她迅速成为德国最著名的女钢琴家,而且在一战后的短时间内就获得了世界性的声誉。她早年的生涯是独奏家,不过后来她也演出三重奏,合作的著名艺术家包括德国小提琴家Willem van Hoogstraten和大提琴家Fritz Reitz。Hoogstraten是Ney 1907年在科隆音乐学校教书时认识的,他们1911年结婚,Hoogstraten后来成了国际著名的指挥家。1921年,夫妇俩访问美国,连同纽约爱乐举行了一场勃拉姆斯纪念音乐会,Hoogstraten被聘请为乐团夏季音乐季指挥,并且在冬季也定期指挥乐团在俄勒冈州(Oregon)波特兰市(Portland)的演出,俩人因此不断地奔波。他们仍然视德国为家,不过后来在施塔恩贝格湖(Starnberger See,慕尼黑附近)边的Tutzing安顿了下来,在此,Elly Ney展开了她世界范围的独奏演出。

1931年Elly Ney遇见了年轻的大提琴家Ludwig Hoelscher,连同小提琴家Wilhelm Stross组建了另外一支钢琴三重奏(小提琴家Max Strub后来加入)。1939-1945年Ney在萨尔茨保莫扎特馆(Salzburg Mozarteum)教学。她的演奏举世闻名因为她融合了神经质般的火光和直觉,就像之前的阿根廷钢琴家Teresa Careno,她真正能令弹奏的钢琴歌唱。她在颠峰状态灿烂的技术,例如,在极弱音八度演奏中的连奏,得到许多评论家的推崇称赞。直至去世前的后半生,Elly Ney被赞誉为钢琴上的"grand old lady"(不知道怎么翻译才妥当),她随着年长的恬静所孕育的日益深刻富洞察力的演绎,所孕育的启发性,令听众痴迷:听众铭记Winckelmann的话:“高貴的單純和靜穆的偉大”。不过这没有指出她对待作品的忠诚态度和技艺保留着模糊不清的特点。Elly Ney早年保留曲目有当代作品,但是随着年长,她的曲目收窄到莫扎特、舒伯特、舒曼、门德尔松和勃拉姆斯。她的勃拉姆斯,或许,更显著的是贝多芬,声名伴随一生。Elly Ney相信音乐中有神圣性与民族性同存的力量,并且持续不断地向家乡或者海外的同胞宣扬,一直到鹤发之年去世的前两个星期。

录音:
Colosseum Records为晚年的Elly Ney提供了极大的录音便利和自由度,想录就录,因此Elly Ney终能在晚年留下这些令人仰望的宝藏。其中大部分Colosseum早年都出过LP了,为了纪念2002年的120周年冥诞,公司在Elly Ney的女儿、学生等协助下着手在CD发行她晚年所有录音(录音时间1960-1968),其中前10张都有单张CD发行,套装的是12张,多了两张附加,内容是一些未发行录音等,其中最有意思的是包括了Elly Ney朗读的“我如何发现贝多芬”和贝多芬海利根施塔特遗书!
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2#

摘自Wiki

Nazi links

During the Third Reich she joined the Nazi Party in 1937,[3] participated in "cultural education" camps, and became an honorary member of the League of German Girls.[4] She held anti-Semite views.[3] After the war, the city of Bonn imposed a stage ban on her. In 1952 a request for lifting the ban was rejected, stating that Ney was a "pronounced National Socialist".[5]
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Adolf Hitler's favourite pianist - by Stephen Hough

Most of us spend most of our moral lives in the middle – sitting on a fence much broader then the gardens on either side. Our days are filled with small acts of cowardice and laziness alternating randomly with small acts of generosity and kindness. The big gestures, whether courageous or cruel, usually pass us by – more often through circumstance than through choice. But at certain times in history, circumstance demands of people difficult or demanding choices, forcing them to confront virtue and vice in real situations, when such choices involve life and death … for themselves and for others. There were two female pianists in the last century, both Beethoven specialists and exact contemporaries, who did not sit on the broad fence like most of us, but who stood in the gardens on opposite sides with utter conviction and determination.
  
  Elly Ney (1882-1968), it is said, was a “fanatical supporter” of Hitler. She voluntarily joined the Nazi party in 1937, participated in ‘cultural education camps’, became an honorary member of the League of German Girls, and wrote adoring letters to “mein Führer”. According to the pianist Edward Kilenyi, who was a captain in the US Army at the time, she would read extracts of Hitler’s writings and soldiers’ letters from the concert stage; and in Salzburg, where she taught during the war, she used to honour Beethoven’s bust with a Nazi salute. After the war she was banned from performing in Bonn, and a request in 1952 for this ban to be lifted was refused. Her career, which had flourished in the earlier years of the century, never recovered, and just last year the mayor of Tutzing, the small Bavarian town where she died, finally removed her portrait from the Town Hall.
  
  Dame Myra Hess (1890-1965) could easily have escaped safely to America at the outbreak of the Second World War, where she had a huge following, but she chose to abandon her international career and stay at home in central London during the worst of the bombing. After the outbreak of war all public places of entertainment were closed, but she convinced the government to allow her to start a daily series of concerts at the National Gallery which began on 10th October 1939 and continued until 1946. Although all the paintings and sculptures had been removed for safe-keeping, and occasional daytime air raids meant that the audience and musicians had to retreat to the basement, 824,000 people attended 1,698 concerts during London’s darkest days. Dame Myra felt that music could give a genuine moral boost to people facing terror and hardship, and she was prepared to risk her life and livelihood for that cause.
  
  Most of us fall into the middle of these two extremes, and our various shades of moral grey can fluctuate daily, depending on all kinds of varying circumstances. Some artists who left Nazi Germany were courageous, some selfish; some who stayed there were courageous, some selfish. Some began well but descended to evil and collaboration; others began badly but later discovered heroism and humanity. I mean to prove nothing by placing these two formidable ladies next to each other in this way, except, perhaps, to pose the question: is there a moral dimension to music? Can a person who does evil things be a great artist?
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