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| 威廉·门盖尔贝格（Willem Mengelberg ） | |||||||||||||||||||||||
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门盖尔贝格指挥柴可夫斯基第五交响曲1943,布达佩斯 |
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| Willem Mengelberg conducts P.I. Tchaikovsky Symphony No.5 I.1943, Budapest | |||||||||||||||||||||||
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音乐历史上的今天 1950年3月22日，80岁的指挥家门盖尔贝格（Willem Mengelberg ）死于瑞士，他曾任阿姆斯特丹音乐厅管弦乐团指挥达半个世纪之久，但由于在二战期间同纳粹侵略者进行文化合作，他被终身禁止涉足荷兰音乐界。
门盖尔贝格（Willem Mengelberg
），生于1871年3月28日，生于荷兰乌得勒支。他是一位富有浪漫主义传统的交响乐指挥，在他为阿姆斯特丹格布管弦乐团(Amsterdam
Concertgebouw Orchestra, 1895-1945年)工作期间，将其发展成为世界上最好的管弦乐队之一。 |
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| 门盖尔贝格（Willem Mengelberg ）在旅行演出的途中 | |||||||||||||||||||||||
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| 门盖尔贝格和托斯卡尼尼 | |||||||||||||||||||||||
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Today in
the history of music On March 22, 1950, the 80-year-old conductor Willem Mengelberg, who had conducted the orchestra at the Amsterdam concert hall for half a century but was banned from Dutch music for life for his cultural cooperation with Nazi invaders during world war ii, died in Switzerland. Willem Mengelberg was born on March 28, 1871, in Utrecht, the Netherlands.A symphony conductor in a romantic tradition, he developed the Amsterdam Concertgebouw Orchestra (1895-1945) into one of the best orchestras in the world. Although toscanini had more influence on later generations than anyone else, this does not mean that he also left a mark on contemporary conductors.Most of their styles follow the traditions of the 19th century and have been shaped.When you look back at the peak of tuscanini in the first half of the 20th century, it was a golden age, a time of great opportunity, a time that will never happen again.Nikesh, muk and mahler were all very active.In addition to toscanini, there were a number of well-known conductors, such as weingartner, walter, futwangler, beauchum, stokowski, reiner, anseme, kleber, monte, klempeller, kucevitsky, ormandy, sell. Some of these people are the antithesis of toscanini.Three of the leading conductors, mengelberg, futwangler and walter, were known as romantics, who represented romanticism rather than the modern tradition.Of the three, mengelberg was the greatest of the technical types, like horowitz in command, with boundless emotion and energy.He was short and round and often called the napoleon of the band.Given his casual approach to music and his habit of revising scores, it is not surprising to hear that the person who influenced him most was mahler, whom he met in 1902.Mengelberg told the BBC symphony orchestra that he was a complete and utter mahler. British viola player and writer George Bernard shaw quoted him as saying: Beethoven, like many composers, would revise his scores, even after publication, and then he went deaf.So why can't the conductor change the score?We often know more than composers.I was sidler's best student, he was Beethoven's best student, so I knew what Beethoven meant.(mengelberg was joking with the band.By "sidler," he meant schindler, who died in 1864, and mengelberg, who was born in 1871.)This is by strauss. I've been friends with Richard strauss since I was a kid, so I know what he's trying to say, so let's change it. We should not be too critical of this attitude on the part of mengelberg, at least not more so than we are of Wagner, mahler, or any other post-romantic musician.Even in the days of mengelberg, it was common for performers to help composers who lacked a sense of violence.When boussoni was criticized for rewriting parts of frank's prelude, hymn, and fugue, he simply and reasonably replied that frank didn't always know how to write it to get the effect he wanted.At the risk of being bored, I repeat that fidelity to music is a recent invention;We should not condemn a nineteenth century musician for following the fashion of his time, any more than we should condemn the early Italian artists for not knowing perspective. Trained in Germany, he conducted in lucerne for five years before returning to his native Holland in 1895 to become director of the orchestra of the Amsterdam concert hall.He developed a small local band into one of the best in the symphonic world.He commanded the regiment for forty-one years until 1941.During world war ii, mengelberg collaborated with the Nazi government, and in 1945 the Dutch reputation board banned him from continuing any musical activities.He defended himself with art."My art is a public property and should not deprive anyone of the right to enjoy it.I'm not interested in politics."In 1941 he took up a post in the German cultural cabinet and commanded in Germany throughout the second world war. He was a conductor of exceptional skill and drive, particularly fascinated by the large, complex music of mahler and strauss.Strauss dedicated Ein Heldenleben to him, and it is generally accepted that no conductor can deliver such excitement, brilliance, and drama.Mengelberg left behind a record for the world to witness.As a master of style, he belonged to the Wagnerian school.As a true romantic, he would slow down in comparison passages, using free speed, leaving little room for imagination.As late as the 1930s, he had the strings use slippage in the adagio section of the ninth symphony to enhance the emotional effect.This anachronistic effect, and his change of pace, displeased many musicians and critics;However, his sense of drama and the effect of giant oil painting made the audience crazy.As Lawrence Gilman put it: "his faults are irritating, but his virtues are noble." Mengelberg was active in the United States, appearing frequently after 1905.In 1919 he was approached by the Boston symphony orchestra to succeed mook.Finally because the money did not agree."In my mind, the United States has always been a very rich country," he told a reporter. "but from my endowment, it doesn't seem that way."He later conducted the New York Philharmonic, working with toscanini from 1927 to 1928.One mountain does not make two tigers, and mengelberg is the loser.Winthrop Sargeant said Mr. Mencelberg taught the orchestra perfectly, but Mr. Toscanini didn't think so, and he began to reinvent the orchestra, discarding all of Mr. Mencelberg's cherished ideas.Toscanini's way of dealing with errors (sargent) is not a rational explanation but a rage, in which he breaks the musical frame with his baton.Mengelberg represents "a man of principle and tradition, fighting for a moral system of music that he believes is greater than himself.On the other hand, a ruthless and autocratic genius sweeps everything in front of him, demanding obedience to standards set purely by instinct, rather than to rules and order.The band's musicians knew who would be the winner, and poor mengelberg's rehearsals turned into a mess.Mengelberg believed in his gun, but he lost his power and authority.He wanted to stick it out, endured some musical season abuse, but eventually returned home, never to return. Mengelberg also had the distinction of being the most obsessive talker of all conductors in history.Carl Flesch once looked at his watch during a rehearsal.The conductor spoke for an hour and a half, then rehearsed for only three-quarters of an hour.Bernard shaw described the first rehearsal for mengelberg, after he had retired.Mengelberg appeared and began to recall his wonderful experiences conducting orchestras around the world."There's nothing I don't know, you see.Now, Mr. Oboe, give me an A."Then the band spent twenty-five minutes tuning up until the conductor was satisfied.It was a thorough ceremony.First the violin is tuned to the oboe, then the whole string part, then the whole orchestra, then the bassoon.When the band found A, the violin began to tune the other strings.The oboe, like an archbishop, must "stand up and play in the direction of the parts in order to be heard at a distance.And mengelberg sits on the podium like a giant Buddha, criticizing the smallest steps one by one."Eventually, the orchestra reduced the tuning time to five or six minutes.Some conductors are especially sensitive to tuning.When Sir Henry wood was in charge of the early queen's hall band, he built a special tuner that blew a reed with a bellows to keep it vibrating 435.5 times a second at 59 degrees Fahrenheit.He required every musician to register for tuning at the machine backstage. As is often the case with masters of technique, Mr. Mencelberg's reputation dissipated quickly after his death.Mengelberg was born at a time when his two great legacies, technique and romanticism, were viewed with suspicion.Posterity has not been fair to him, and he deserves more.His music may be too artificial by today's standards, but it has always been full of vitality, drive and a sense of faith.No one has ever surpassed his musical touch, not even kucevitsky and stokowski.There was a real power to this little man, a great individual and one of the band's most reliable owners. 1. Mengelberg conducts Tchaikovsky's fifth symphony, 1943, Budapest;2. Video of mengelberg conducting a rare concert with the orchestra of Amsterdam (recorded in 1931). |
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| 门盖尔贝格 | |||||||||||||||||||||||
门盖尔贝格指挥阿姆斯特丹管弦乐团 珍贵音乐会录像（1931年录制） |
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| 门盖尔贝格和阿姆斯特丹管弦乐团合作的珍贵音乐会录像，1931年录制柏辽兹拉科奇进行曲等 | |||||||||||||||||||||||
| Willem Mengelberg & Concertgebouw Orchestra (1931 Movie) | |||||||||||||||||||||||
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