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发表于 2025-6-1 20:44
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BARBER, Samuel (1910–81)
Complete Orchestral Works (as below)
Naxos 8.506021 (6). Soloists, RSNO, Marin Alsop
Adagio for Strings; (i) Cello Concerto, Op. 22. Medea (ballet suite), Op. 23
Naxos 8.559088. RSNO, Alsop; (i) with Wendy Warner
(i) Canzonetta for Oboe & Strings; (i–ii) Capricorn Concerto. Fadograph of a Yestern Scene; Mutations from Bach; (iii) A Hand of Bridge (opera). Vanessa (opera): Intermezzo
Naxos 8.559135. RSNO, Alsop; with (i) Stéphane Rancourt; (ii) John Gracie, Karen Jones; (iii) Lesley Craigie, Louise Winter, Simon Wall, Roderick Williams
(i) Piano Concerto. Commando March; Die Natali, Op. 37; Medea’s Meditation and Dance of Vengeance
Naxos 8.559133. RSNO, Alsop; (i) with Steven Prutsman
(i) Violin Concerto. Music for a Scene from Shelley, Op. 7; Serenade for Strings, Op. 1; Souvenirs (ballet suite), Op. 28
Naxos 8.559044. RSNO, Alsop; (i) with James Buswell
First Essay for Orchestra, Op. 12; The School for Scandal Overture, Op. 5; Symphonies 1, Op. 9; 2, Op. 19
Naxos 8.559024. RSNO, Alsop
Second Essay for Orchestra, Op. 17; Third Essay for Orchestra, Op. 47; (i) Toccata Festiva for Organ & Orchestra, Op. 36; (ii) Knoxville: Summer of 1915, Op. 24
Naxos 8.559134. RSNO, Alsop; with (i) Thomas Trotter; (ii) Karina Gauvin
This is among Marin Alsop’s finest achievements to date, among her many other impressive recordings, and this box can hardly be recommended too highly. Barber’s Cello Concerto of 1945 is more elusive than his Violin Concerto but Wendy Warner concentrates on its sometimes wry lyricism, and she articulates with brilliant point in the gentle scherzando passage of the finale. Alsop is a persuasive partner, relishing the often plangent orchestral backcloth and securing a splendidly committed response from the Scottish players, both here and in the often astringent score for Medea. The selection is generous, with the atmospheric central portrait of Medea herself and her dance of vengeance made the final point of the score. The famous Adagio for Strings then becomes essentially an elegy, but reaches a passionate climax.
The neoclassical Capricorn Concerto, which takes its name from the house that Barber and Menotti shared, is a relative rarity, but this Scottish account is in every way appealing. The Canzonetta was left in short score on Barber’s death, but this arrangement with strings is expertly done, and the piece is as moving as the very best of Barber. The Fadograph of a Yestern Scene is another rarity, a ruminative and reflective score with a strong vein of melancholy to sustain it. The witty ten-minute opera, A Hand of Bridge, which Barber wrote for Menotti’s festival at Spoleto, also comes off well. In short, this is a most pleasurable disc and repays repeated listening.
Stephen Prutsman gives a powerful reading of Barber’s formidable Piano Concerto, fully in command of the bravura writing of the outer movements and tenderly expressive in the central Canzonetta. Again with Marin Alsop a most sympathetic Barber interpreter, the Concerto is effectively supplemented by the well-known concert work drawn from the Medea ballet, the genial and colourful fantasia on Christmas carols, Die Natali, written at the same period as the Concerto in memory of Serge and Natalie Koussevitzky, and the wartime Commando March.
Marin Alsop then backs up the masterly Violin Concerto with the witty and delightfully parodic ballet, Souvenirs, and two early works, the evocative Scene from Shelley and a long-neglected three-movement Serenade, which is based on a string quartet written when Barber was nineteen and which anticipates the Adagio for Strings. James Buswell is a refined, sensitive soloist in the Concerto, warm without being soupy, if not quite as individual as Ehnes in his vintage version with Tovey.
In the fifth Naxos collection, the two Symphonies are played by the Scottish orchestra with passionate commitment and deep lyrical feeling. The account of the complete Second Symphony will surely confirm the reputation of a wartime work which the composer partly withdrew in despondency after its neglect. The First Essay for Orchestra also generates a powerful atmosphere when played with such depth of expression, helped by the spectacular recording.
Marin Alsop then backs up the masterly Violin Concerto with the witty and delightfully parodic ballet, Souvenirs, and two early works, the evocative Scene from Shelley and a long-neglected three-movement Serenade, which is based on a string quartet written when Barber was nineteen and which anticipates the Adagio for Strings. James Buswell is a refined, sensitive soloist in the Concerto, warm without being soupy, if not quite as individual as Ehnes in his vintage version with Tovey.
In the fifth Naxos collection, the two Symphonies are played by the Scottish orchestra with passionate commitment and deep lyrical feeling. The account of the complete Second Symphony will surely confirm the reputation of a wartime work which the composer partly withdrew in despondency after its neglect. The First Essay for Orchestra also generates a powerful atmosphere when played with such depth of expression, helped by the spectacular recording.
Marin Alsop’s final outstanding collection gathers together a most attractive group of works, including one of the most popular of all, the evocative setting of a prose poem by James Agee, Knoxville: Summer of 1915, with the Canadian soprano Karina Gauvin as the opulent soloist. The voice is so rich that the diction is not as clear as it might be, but happily the booklet provides the full text. Alsop’s reading brings out the contrasts between the different sections more sharply than usual; similarly, in both of the Essays (No. 3 a late work, written in 1976) she highlights contrasts to bring out the feeling in each of these compressed symphonic structures. The Toccata Festiva for organ and orchestra, written for the unveiling of a new organ for the Philadelphia Orchestra, is an exuberant piece that brings the widest expressive range in the organ part and, with the orchestral contribution colourful too, the work (surprisingly) is a great rarity on disc. But, like the whole six-disc collection, it is superbly played and recorded.
这是马林·阿尔索普迄今为止最杰出的成就之一，也是她众多令人印象深刻的录音之一，这套录音盒无论如何推荐都不为过。巴伯1945年的大提琴协奏曲比他的小提琴协奏曲更难以捉摸，但温迪·华纳专注于其时而略带讽刺的抒情风格，并在终乐章柔和的谐谑曲段落中展现得淋漓尽致。阿尔索普是一位极具说服力的搭档，她充分发挥了时而凄婉的管弦乐背景，并获得了苏格兰乐手们的精彩回应，无论是在这部作品中，还是在《美狄亚》那略显尖锐的乐谱中。作品选材丰富，其中，美狄亚本人的形象和她复仇之舞的氛围构成了乐谱的压轴。随后，著名的弦乐柔板变成了一首挽歌，但最终达到了充满激情的高潮。
新古典主义风格的摩羯座协奏曲以巴伯和梅诺蒂共同居住的房子命名，相对罕见，但这张苏格兰版本却处处引人入胜。巴伯去世时留下的短篇小调乐谱虽然简短，但其弦乐编排堪称精湛，堪比巴伯最优秀的作品，令人动容。《昨日场景的法朵格拉夫》也是另一首珍品，其乐谱引人深思，并带有强烈的忧郁气息。巴伯为梅诺蒂在斯波莱托的音乐节创作的十分钟诙谐歌剧《桥牌之手》也同样精彩。总而言之，这是一张令人愉悦的唱片，值得反复聆听。
斯蒂芬·普鲁茨曼对巴伯令人敬畏的钢琴协奏曲进行了强有力的诠释，他完全掌控了外部乐章的华丽，并在中间的小调乐章中展现出温柔的表达。马林·阿尔索普再次以极具感染力的演绎诠释了巴伯的协奏曲，这首协奏曲与著名的芭蕾舞剧《美狄亚》音乐会作品、与纪念塞尔日和娜塔莉·库塞维茨基的协奏曲同期创作的、充满亲切色彩的圣诞颂歌幻想曲《娜塔莉》以及战时的《突击队进行曲》相得益彰。
随后，马林·阿尔索普以诙谐诙谐、妙趣横生的芭蕾舞剧《纪念品》和两部早期作品——令人回味的《雪莱场景》和长期被忽视的三乐章《小夜曲》——为大师级的小提琴协奏曲伴奏。《小夜曲》改编自巴伯十九岁时创作的弦乐四重奏，预示着《弦乐柔板》的到来。詹姆斯·巴斯韦尔在协奏曲中是一位优雅细腻的独奏家，温暖而不浮夸，尽管不如埃内斯与托维合作的经典版本那样独具特色。
在纳克索斯第五辑中，苏格兰管弦乐团以饱满的热情和深沉的抒情演绎了这两部交响曲。第二交响曲的完整演绎无疑将巩固这部战时作品的声誉，作曲家在作品被忽视后曾一度沮丧地放弃创作。《第一管弦乐随笔》在如此深刻的表达下，也营造出了一种强大的氛围，这得益于其精彩的录音。
随后，马林·阿尔索普用诙谐诙谐、妙趣横生的芭蕾作品《纪念品》以及两部早期作品——令人回味的《雪莱场景》和一部长期被忽视的三乐章《小夜曲》——为大师级的小提琴协奏曲伴奏。《小夜曲》改编自巴伯十九岁时创作的弦乐四重奏，预示了《弦乐慢板》的到来。詹姆斯·巴斯韦尔在协奏曲中是一位优雅细腻的独奏家，温暖而不浮夸，尽管不如埃内斯与托维合作的复古版本那样独具个性。
在纳克索斯第五部合辑中，苏格兰管弦乐团以饱满的热情和深沉的抒情演绎了这两部交响曲。第二交响曲的完整演绎无疑将巩固这部战时作品的声誉，作曲家在作品被忽视后曾一度沮丧地放弃了这部作品。《第一管弦乐随笔》在如此深刻的表达下，也营造出了一种强大的氛围，这得益于其精彩的录音。
马林·阿尔索普的最后杰作汇集了一组极具吸引力的作品，其中包括最受欢迎的作品之一——詹姆斯·艾吉散文诗《诺克斯维尔：1915年的夏天》的令人回味的背景，由加拿大女高音卡琳娜·高文担任华丽的独唱。由于声音如此浑厚，以至于措辞不够清晰，但令人欣慰的是，小册子提供了完整的文本。阿尔索普的朗诵比以往更加鲜明地展现了不同部分之间的对比；同样，在两部《随笔集》（第三号是她1976年创作的晚期作品）中，她都强调对比，以突出每个紧凑交响乐结构中的情感。为费城交响乐团新管风琴揭幕而作的《托卡塔·节日》是一部充满活力的作品，其管风琴声部展现了最广阔的表达范围，管弦乐的演奏也同样精彩纷呈，因此这部作品（令人惊讶地）在唱片中极为罕见。但与整套六碟合集一样，它的演奏和录制都非常出色。（源于Google翻译）
https://115cdn.com/s/swwso0k3hq9?password=3377&#
Barber, Samuel - Complete Orchestral Works - Marin Alsop, RSNO [Naxos]
与三四星带花不同，这个推荐系列里不少Naxos厂牌。
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发表于 2025-6-1 21:27
