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发表于 2025-5-30 10:10
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来自 中国
ANSERMET, Ernest (conducting various orchestras)
BACH: Cantata 31: Sonata. HAYDN: Symphony 22. BEETHOVEN: Symphony 4. WEBER: Der Beherrscher der Geister: Overture; Preciosa: Overture. MENDELSSOHN: Ruy Blas: Overture. BORODIN: Polovtsian Dances. LIADOV: Kikimora. STRAVINSKY: Scherzo à la Russe; Pulcinella: Suite. SIBELIUS: Symphony 4. DELIBES: Coppélia: excerpts; Sylvia: excerpts. FRANCK: Le Chasseur maudit. CHABRIER: Joyeuse Marche; Danse Slave. FAURÉ: Masques et Bergamasques; Pénélope: Prélude. SCHUMANN: Carnaval. RAVEL: Le Tombeau de Couperin. DEBUSSY: 6 Epigraphes Antiques; Petite Suite. RESPIGHI: Fountains of Rome; Rossiniana. HONEGGER: Pacific 231; Le Roi David. DUKAS: La Péri. RIMSKY-KORSAKOV: Dubinushka. MARTIN: Concerto for 7 Wind Instruments, Timpani, Percussion & String Orchestra
Decca (ADD) 475 8140 (6)
It was the advent of Decca’s Full Frequency Range Recording recordings (ffrr) in the late 1940s that put both Ansermet and Decca at the forefront of hi-fi classical recordings. Ansermet’s mono accounts of La boutique fantasque and Petrushka are landmarks in recording history. During the 1950s and ’60s, Ansermet made an extraordinary number of LPs, mainly with his Suisse Romande Orchestra. He became especially famous for his interpretations of twentieth-century repertoire (though not the exponents of the twelve-tone row) and French music. If many of Ansermet’s performances can be criticized for their lack of polish and sheer virtuoso brilliance, they (usually) make up for it in terms of character and musical substance. Ansermet sparkles in the lighter French repertoire: Chabrier’s Joyeuse marche and Danse slave are among the best performances of these works on disc. Just listen to the sense of exhilaration in the music-making, not achieved by mere speed: it is the rhythmic pulse which makes them so striking, along with the 1964 recording. Decca provide similar brilliance in the Tarantella from Rossiniana, the most entertaining movement from the Rossini/Respighi suite.
The Delibes items show Ansermet’s gift for ballet music (both his complete Coppélia and Nutcracker are classics). The Mazurka from Coppélia positively dances out of the speakers, while Les Chasseresses from Sylvia is rich in pageant and classical drama. We are strikingly summoned to attention with Dukas’s Fanfare from La Péri, and the ensuing ballet music is both lively and sharply characterized. A rarity on this disc is an orchestrated version (by Glazunov, among others) of Schumann’s Carnaval and it works surprisingly well in its nineteenth-century orchestral dress. César Franck’s ominous hunting calls in Le Chasseur maudit sound splendid in Ansermet’s 1961 performance, building up a fine sense of drama (what a wonderfully entertaining work this is!). Ansermet’s classic version of Fauré’s Masques et Bergamasques, dating from 1961, finds the conductor on top form, with light and sensitive playing making the most of this delightful music.
Ravel and Debussy are composers with whom Ansermet often excelled. Ansermet fans will recognize the oboe almost like an old, if not always completely stable, friend. Still, the finely etched colours of Ravel’s Le Tombeau de Couperin are well brought out and there is a cool beauty in the charming Petite Suite. Ansermet’s extensive and innate understanding of orchestral texture is well displayed in his orchestration of Debussy’s Six Epigraphes Antiques. This was originally written as a piano duet but Ansermet’s orchestration fits the music perfectly. The mono sound is very good but it is a pity he didn’t re-record it in stereo.
It is hard to imagine a more powerful performance of Honegger’s masterpiece, Pacific 231, than Ansermet’s 1963 account: the opening tingles with excitement, with Honegger’s steam-engine brought to startling life. The same composer’s ‘Dramatic psalm’, Le Roi David, is a distinctive pageant offering very agreeable musical ideas in the composer’s distinctive sound-world. The performance is strong in character and, with its distinguished French cast (Suzanne Danco is especially impressive), it is completely idiomatic.
Frank Martin is represented by his Concerto for Seven Wind Instruments, Timpani, Percussion and String Orchestra. The shifting emotions of the music, with its unusual colours and the angular quality of the melodic lines, make for a highly rewarding and distinctive piece. Again, the woodwind playing is not the last word in brilliance (that oboe again!), but the performance is concentrated and full of conviction.
With his ear for colour, it is not surprising that Ansermet made some impressive LPs of Russian music. His Polovtsian Dances may not be in the Solti league of exhilaration, but the orchestra is lively enough, even if the chorus is a bit limp. Liadov’s Kikimora and Rimsky-Korsakov’s Dubinushka receive excellent performances.
Stravinsky’s Scherzo à la Russe, a relaxed reading, allows the textures to shine out, deliciously so in the quiet, chamber-like section of the work. Pulcinella was one of Ansermet’s most successful stereo Stravinsky recordings, not least because of the vividness of the 1956 recording. True, it sounds a little dry by today’s standards, but it has an intimate quality which is most attractive. Listen to the double basses in the vivo section and the rasp of the brass – crisp and vibrant. The gentleness of the following Minuetto is quite melting and one even forgives the oboe player’s lack of polish.
Ansermet was a mathematician and there is a sense that his mathematical mind sometimes worked too hard in the romantic repertoire. His Beethoven cycle is unfailingly interesting though, and his poised, direct approach works well (the Ninth Symphony, with Joan Sutherland, won universal praise). The Fourth Symphony with its subdued opening is almost chilling in its beauty here, and he warms up nicely in the main allegro. Ansermet’s always reliable sense of phrasing makes the string playing especially enjoyable, with the articulation in the finale particularly memorable.
The Weber overtures, The Ruler of the Spirits and Preciosa, are highly enjoyable, the latter with its sparkling Turkish music section. Ansermet’s account of Mendelssohn’s Ruy Blas Overture is among the very best versions with its vivid sound and sense of drama.
Most unlikely repertoire for Ansermet is Bach, but actually he was rather warm-hearted when playing this composer: listen to the vitality of the opening of Cantata 31. Ansermet’s Haydn is memorable too, mainly for its elegant phrasing of the strings. The finale of Symphony No. 22 is especially enjoyable, with its hunting rhythms, all very lively but not at all forced.
Sibelius’s Fourth Symphony is the least successful item here. Those who know this symphony well will get something out of this performance, because Ansermet always has a way of illuminating strands of a score in an interesting way. However, the tension notably sags in the slow movement and the performance as a whole lacks enough concentration to hold the work compellingly together.
Ansermet was the opposite of the flashy showman conductor: the excitement of listening to Ansermet performances is more in the detail than overt brilliance. But they are always enjoyable for their spontaneity.
20 世纪 40 年代末，迪卡全频录音 (ffrr) 的出现使安塞美和迪卡都站在了高保真古典录音的前沿。安塞美对《幻想精品店》和《彼得鲁什卡》的单声道演绎是录音史上的里程碑。20 世纪 50 年代和 60 年代，安塞美制作了大量 LP 唱片，主要与他的瑞士罗曼德管弦乐团合作。他因对 20 世纪曲目（尽管不是十二音列的代表）和法国音乐的诠释而闻名。如果说安塞美的许多表演可以因其缺乏润色和纯粹的技艺而受到批评，那么它们（通常）在特色和音乐实质方面弥补了这一点。安塞美在较轻松的法国曲目中闪闪发光：夏布里埃的《快乐进行曲》和《奴隶之舞》是这些作品在唱片中的最佳演绎之一。聆听音乐创作中那种令人愉悦的感受，并非仅仅靠速度就能实现：正是节奏的脉动让它们如此震撼，正如1964年的录音一样。迪卡在罗西尼组曲《罗西尼》中最具娱乐性的塔兰泰拉舞曲中也展现了同样的光彩。
德利布的作品展现了安塞美在芭蕾舞音乐方面的天赋（他的《葛蓓莉亚》和《胡桃夹子》全集都是经典之作）。《葛蓓莉亚》中的玛祖卡舞曲仿佛从扬声器中跃动而出，而《西尔维娅》中的《女猎人》则充满了华丽的场面和古典的戏剧性。杜卡斯的《仙女》中的《号角》则引人注目地吸引了我们的注意力，随后的芭蕾舞音乐既活泼又鲜明。这张唱片中罕见的曲目是舒曼《狂欢节》的管弦乐版本（由格拉祖诺夫等人创作），它在十九世纪管弦乐的氛围中效果出奇地好。塞萨尔·弗兰克在《猎手的诅咒》中不祥的狩猎鸣叫在安塞美1961年的演奏中显得格外动听，营造出一种绝妙的戏剧感（这真是一部引人入胜的作品！）。安塞美1961年演奏的福雷《假面舞会与贝尔加马舞会》的经典版本，展现了指挥家的巅峰状态，轻盈灵动的演奏将这首悦耳的音乐淋漓尽致地展现出来。
安塞美与拉威尔和德彪西合作的作曲家往往都表现出色。安塞美的乐迷会认出他的双簧管，仿佛他们是一位老朋友，即便并非总是那么亲密。尽管如此，拉威尔《库普兰之墓》精雕细琢的色彩依然展现得淋漓尽致，而迷人的《小组曲》则散发着一种冷峻的美感。安塞美对管弦乐织体深厚而与生俱来的理解，在他为德彪西《六首古铭文》编曲时得到了淋漓尽致的展现。这首曲子原本是钢琴二重奏，但安塞美的编曲与音乐完美契合。单声道的音色非常出色，可惜他没有重新录制成立体声。
很难想象还有比安塞美1963年的版本更能演绎奥涅格的杰作《太平洋231》的：开场激动人心，奥涅格的蒸汽机栩栩如生。同一位作曲家的“戏剧圣歌”《大卫王》是一部独特的盛会，在其独特的音响世界中展现了令人愉悦的音乐理念。演出风格鲜明，加上杰出的法国演员阵容（苏珊娜·丹科尤其令人印象深刻），使其完全地道地地道道。
弗兰克·马丁的代表作是他的协奏曲，由七种管乐器、定音鼓、打击乐和弦乐团组成。音乐中情感的变幻，加上其独特的色彩和棱角分明的旋律线条，成就了这部极具感染力且独具特色的作品。尽管木管乐器的演奏并非最精彩（又是双簧管！），但演奏却专注而充满感染力。
凭借他对色彩的敏锐嗅觉，安塞美创作了一些令人印象深刻的俄罗斯音乐LP唱片也就不足为奇了。他的波罗维茨舞曲或许无法与索尔蒂的激动人心相提并论，但管弦乐队的活力十足，即使合唱部分略显乏味。利亚多夫的《基基莫拉》和里姆斯基-科萨科夫的《杜比努什卡》都有出色的表演。
斯特拉文斯基的《俄罗斯谐谑曲》是一首轻松的乐曲，其织体在作品中静谧的、类似室内乐的段落中展现得淋漓尽致。《普契奈拉》是安塞美最成功的立体声斯特拉文斯基录音之一，这在很大程度上归功于1956年录音的生动活泼。诚然，以今天的标准来看，它听起来略显枯燥，但它却蕴含着一种亲切的气质，这才是最引人入胜的。聆听“活”音部分的低音提琴和铜管乐器的沙哑声——清脆而充满活力。接下来的《小步舞曲》的柔美令人动容，甚至让人能够体会到双簧管演奏者缺乏精湛技艺的不足。
安塞美是一位数学家，他的数学思维在浪漫主义曲目中似乎有时显得过于用力。然而，他的贝多芬全集始终引人入胜，他沉着冷静、直截了当的演奏手法也同样出色（与琼·萨瑟兰合作的《第九交响曲》赢得了普遍赞誉）。第四交响曲的开头低调，美得令人心旷神怡，而他在主快板中则热情洋溢。安塞美一贯精准的乐句表达能力使弦乐演奏格外动听，尤其是终乐章的清晰表达令人难忘。
韦伯的序曲《幽灵的统治者》和《宝仕奥莎》都令人赏心悦目，后者的土耳其音乐部分更是精彩绝伦。安塞美改编的门德尔松《鲁伊·布拉斯》序曲以其生动的音色和戏剧感跻身最佳版本之列。
巴赫是安塞美最意想不到的曲目，但实际上，他在演奏这位作曲家时却相当热情：聆听《康塔塔31》开头的活力。安塞美的海顿作品也令人难忘，主要是因为其优雅的弦乐乐句。第二十二交响曲的终乐章尤其令人愉悦，其狩猎节奏活泼却不做作。
西贝柳斯的《第四交响曲》是本场演出中最不成功的。熟悉这部交响曲的观众或许能从这场演出中有所收获，因为安塞美总能以引人入胜的方式阐释乐谱的脉络。然而，慢乐章的张力明显减弱，整场演出缺乏足够的集中度，无法将作品引人入胜地串联起来。
安塞美与那些浮夸的作秀指挥截然相反：聆听安塞美的演出，其兴奋点更多在于细节，而非表面的才华。但安塞美的演奏总是因其即兴发挥而令人愉悦。
https://115cdn.com/s/swwf1i93hq9?password=3377&#
Ansermet, Ernest - Decca Recordings 1953-1967 [6CD]
这个Decca Original Masters套装多数人应该都有。 |
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发表于 2025-5-29 20:17
