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[古典/交响/奏鸣曲] Kurt Atterberg: Complete Symphonies 5CDs CPO

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    2020-3-23 00:01
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    金叔 发表于 2021-3-9 08:15:30 | 显示全部楼层 |阅读模式
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    Today, the Swedish romantic composer Kurt Atterberg (1887-1974) is not widely known. His symphonies -- he composed nine -- are rarely performed. But during the first half of the last century, most of his symphonies were hailed with international praise and support. They were performed by such conductors as Herrmann Abendroth, Wilhelm Furtwängler, Arthur Nikish, Leopold Stokowski, Richard Strauss, Siegmund von Hausegger, and Thomas Beecham.
      Atterberg's lifespan stretched into the second half of the twentieth century. But his compositional style remained firmly rooted in the musical expressions of the late romantic tradition, which flourished around the shift of the penultimate century, 1890-1910. As in the case of Arnold Bax, he was indeed a "brazen romantic." Thus his music is akin to that of Dvorak, Smetana, Bruckner, Mahler, Stenhammar, Elgar, Richard Strauss, Bax, Sibelius, and Vaughan-Williams, even if he had a style of his own. But he was reluctant to link it to early modernism and its atonal chromatism, as, e.g., Mahler, Richard Strauss, Vaughan-Williams and even Sibelius did. The musical world of atonal modernism was almost completely alien to him. His last, and very compelling symphony, called "Visionaria", was composed in 1956, and it has the form of an oratorio for mezzo, baritone, choir and orchestra, using texts from the Poetic Edda. Despite its late composition date, it shows just a few traces of atonal modernism, with twelve-tone rows in some of its melodies. It is basically a complex late romantic work, and, as such, perhaps comparable to the early Schoenberg's "Gurrelieder".
      But don't let Atterberg's romantic conservatism prevent you from experiencing the astonishing beauty and power of his music. His symphonies are passionate, intense, very well composed, and often based on old Swedish folk tunes (this is especially the case with the eight symphony). The sound is thus very "Nordic," comparable to that of the early Sibelius (which, of course, was a greater composer than Atterberg - but he nonetheless recognized the quality of Atterberg's music). And in my view, among all his fine symphonies, the blazing first, the nostalgic and powerful second, the pastoral third, the dark and frantic fifth, the parodic sixth, and the enigmatic ninth are truly memorable and moving masterpieces that should belong to the standard repertoire of late romantic music (his second and fifth are my personal favorites).
      Ari Rasilainen's Atterberg cycle is the first on disc. Raslilainen is a young Finnish conductor (b. 1959). It is perhaps not a surprise that a Finnish conductor supports an unfairly forgotten Swedish romantic composer. After all, if you love and understand Sibelius' early works, which I suppose most Finnish musicians do virtually by birth, you will probably appreciate Atterberg's music as well. Regardless or not if this holds in the present case, it is clear that Rasilainen is the best interpreter of Atterberg that we now have on record. Because this set is a reference set, in all aspects. First, Rasilainen's interpretations are first class -- he knows his Atterberg by heart. Second, without an established performing tradition behind the back, the German orchestras (Radio-Philharmonie Hannover des NDR, Radio-Sinfonie Frankfurt, SWR Radio-Sinfonieorchester Stuttgart, and NDR Radiophilharmonie) play with perfect confidence and brio. Third, a spacious and clear recording catches every note.
      For a reasonable price, you have a splendid piece of almost unknown music in this set, beautiful and beautifully performed and recorded. It is thus an essential purchase for everyone interested in the aftermath of late romanticism in music during the twentieth century.


    网络翻译:

    今天,瑞典浪漫主义作曲家库尔特·阿特伯格(1887-1974)并不广为人知。他的交响乐--他写了九首--很少演奏。但在上个世纪上半叶,他的大部分交响曲都受到了国际上的赞扬和支持。他们由赫尔曼·阿本德罗斯、威廉·富特温格勒、亚瑟·尼基什、利奥波德·斯托科夫斯基、理查德·施特劳斯、西格蒙德·冯·豪塞格和托马斯·比查姆等指挥家表演。

    阿太堡的寿命一直延续到二十世纪下半叶。但他的作曲风格仍然坚定地植根于浪漫主义晚期传统的音乐表达,这种传统在倒数第二个世纪(1890-1910年)前后蓬勃发展。就像阿诺德·巴克斯一样,他确实是一个“厚颜无耻的浪漫主义者”,因此他的音乐与德沃夏克、斯梅塔纳、布鲁克纳、马勒、斯坦哈马尔、埃尔加、理查德·施特劳斯、巴克斯、西贝柳斯和沃恩·威廉姆斯的音乐相似,即使他有自己的风格。但他不愿意将其与早期现代主义及其无调性色差主义联系起来,例如马勒、理查德·施特劳斯、沃恩·威廉姆斯甚至西贝柳斯。他对无调性现代主义的音乐世界几乎完全陌生。他的最后一部非常引人注目的交响曲《幻想家》创作于1956年,它采用了为中音、男中音、唱诗班和管弦乐队演奏的清唱剧形式,使用了诗意的埃达的作品。尽管它的作曲年代较晚,但它只显示了一些无调性现代主义的痕迹,在一些旋律中有十二个音行。它基本上是一部复杂的晚期浪漫主义作品,因此,也许可以与早期勋伯格的《古列德》相提并论。

    但不要让阿太堡的浪漫保守主义妨碍你体验他的音乐惊人的美丽和力量。他的交响乐激情四射,激情四射,谱写精良,经常以古老的瑞典民谣为基础(尤其是第八交响曲)。因此,它的声音非常“北欧”,与早期西贝柳斯的声音相当(当然,西贝柳斯是一位比阿太堡更伟大的作曲家,但他仍然认识到阿太堡音乐的品质)。在我看来,在他所有优秀的交响乐中,第一首是炽热的,第二首是怀旧而有力的,第三首是田园诗,第五首是黑暗而疯狂的,第六首是滑稽的,神秘的第九首是真正令人难忘和感人的杰作,应该属于晚期浪漫主义音乐的标准曲目(他的第二和第五首是我个人的最爱)。


    Ari Rasilainen的阿太堡循环是光盘上的第一个循环。拉斯利莱宁是一位年轻的芬兰指挥家(生于1959年)。一位芬兰指挥家支持一位被不公平地遗忘的瑞典浪漫主义作曲家也许并不奇怪。毕竟,如果你喜欢和理解西贝柳斯的早期作品,我想大多数芬兰音乐家都是这样做的,你可能也会欣赏阿太堡的音乐。不管这在本案中是否成立,拉西莱宁显然是我们目前记录在案的对阿太堡最好的解释者。因为这个集合在各个方面都是一个参考集合。首先,拉西莱宁的解释是一流的——他熟记着他的阿太堡。第二,没有既定的表演传统,

    德国乐团(巴拉巴拉一大堆)
    第三,宽敞清晰的录音能捕捉每个音符。

    以一个合理的价格,你有一个几乎不知名的音乐在这一套辉煌的作品,美丽和美丽的表演和录制。因此,对于每个对二十世纪晚期浪漫主义音乐余波感兴趣的人来说,这是一件必不可少的购买品。
    链接: https://pan.baidu.com/s/1Djy_7KIaQXZ5sTyF2dt-qA

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