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| 费利克斯·门德尔松（Felix Mendelssohn 1809-1847） | |||||||||||||||||||||||
| 不朽音乐传奇 安妮·索菲·穆特演奏 门德尔松伟大小提琴协奏曲 | |||||||||||||||||||||||
| Enduring music legend Anne Sophie mutt plays Mendelssohn's great violin concerto | |||||||||||||||||||||||
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音乐历史上的今天 1847年5月14日，钢琴家、作曲家范尼·门德尔松在41岁那年遭遇了一场致命的中风。他的弟弟菲利克斯（·门德尔松）得知这一消息后，“抽搐倒地，好一段时间不省人事”。六个月后，菲利克斯也跟随姐姐进了坟墓。
费利克斯·门德尔松（Felix Mendelssohn
1809-1847）出生于汉堡一个犹太家庭。祖父是哲学家摩西·门德尔松（Moses），父亲亚伯拉罕（Abraham）是成功的银行家，费利克斯在养尊处优又有文化修养的环境中成长。母亲利亚（lea）是钢琴家，他的钢琴启蒙课就是母亲教的。姐姐范尼·卡西里（Fanny）（1805—1847）是一位在钢琴和作曲方面的可造之材，而且是费利克斯珍贵的挚友。 |
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| 范尼·门德尔松（Fanny Mendelssohn） | |||||||||||||||||||||||
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| 跟莫扎特一样，门德尔松有一个大他四岁的姐姐，菲利克斯·门德尔松在姐姐范尼·门德尔松的影响下，得天独厚的飞速成长为举世瞩目的音乐家。 | |||||||||||||||||||||||
| Like Mozart, felix Mendelssohn had a sister four years older than him. Under the influence of his sister Fanny Mendelssohn, felix Mendelssohn was blessed with rapid growth and became a world-renowned musician. | |||||||||||||||||||||||
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仅仅相隔三年，芬尼和门德尔松几乎形影不离。两人在孩童时期都显示出惊人的音乐天赋，他们一起学习作曲，师从柏林顶尖的导师。据信，费利克斯在10岁之前就公开亮相，并为弦乐和钢琴创作作品，包括他十几岁时创作的《仲夏夜之梦序曲》(Overture
to a Midsummer Night 's Dream)。 与此同时，范妮肯定在和她的弟弟保持同步。14岁的时候，她已经记住了巴赫所有48首前奏曲和赋格曲，并开始创作自己的作品。事实上，门德尔松家的几个孩子的老师认为范妮比两个孩子更有天赋——他们的父亲对此也有同感。 门德尔松一家搬进来的时候，尽管门德尔松的生活圈子很有文化，也很世俗，而且她的父亲也相信她的才华，但最终还是费利克斯被推上了风口浪尖，而范妮追求专业音乐生涯的想法似乎没有成功的希望。在19世纪早期，像她这样的地位的女人根本不可能以自己的名字发表作品，更不用说在公众面前表演了。 费利克斯很快开始了他的欧洲之旅，在那里他会参观音乐之都，用他的作曲和指挥技巧让新发现的粉丝们眼花缭乱。在他20多岁的时候，他已经成为浪漫主义时期最杰出的作曲家之一。 范妮呆在家里。但尽管她的父亲心存疑虑，她从未放弃对音乐的热爱。事实上，她成为了柏林最受欢迎的音乐赞助人之一，建立了一个吸引城市精英的沙龙。这些私人音乐会也给了范妮一个机会来表演她自己的作品，哦，她有很多可以分享的吗? 看，范妮在她的生活中至少找到了一个积极鼓励她的音乐梦想的男人。据报道，她的丈夫、艺术家威廉·亨塞尔(Wilhelm Hensel)每天都会给她留下一张空白的乐谱纸，他希望在回家之前能把乐谱上的符号填满。和范妮义务。在她41岁英年早逝之前，她总共创作了近500部作品。大家都说，费利克斯对姐姐的去世非常悲痛，六个月后就去世了。 在这些作品中，有六件是费利克斯同意出版的，但是是以他的名字出版的。不过，当英国维多利亚女王(不知道真正作者是谁)将范妮的一首歌曲列为她的最爱时，他可能后悔帮助了姐姐。范妮的另一项杰出的工作是她一生中从未见过天日——并且隐藏了近140年。这首名为《复活节奏鸣曲》的作品是她早期的作品之一，创作于她22或23岁的时候。直到这本书的原稿于1970年在一家法国书店出现之前，人们对它知之甚少。买主注意到了f·门德尔松的签名，于是向全世界宣布发现了一件失传已久的费利克斯·门德尔松的杰作。 要再花40年的时间和大量的侦探工作，才能揭开真相。2010年，当时还是研究生的安吉拉·梅斯·克里斯蒂安(Angela Mace Christian，她一直在研究范妮的个人日记和音乐专辑)在听到这首奏鸣曲的录音后，产生了一种预感，觉得这首奏鸣曲并不像它看起来的那样。她联系了失主，失主不情愿地让她看了手稿。克里斯蒂安能够将范妮的笔迹和乐谱与她的作品相匹配，并且能够证明那些单独编号的书页就是她的音乐专辑中已知的缺失的那几页。 范妮的家人也一直在努力工作，以确保她的音乐天赋得到认可。她的曾曾孙女、电影制作人希拉·海曼(Sheila Hayman)正在制作一部有关这一非凡发现的纪录片。,她希望这只是范妮文艺复兴的开始,告诉《每日电讯报》,“持续寻求定位手稿和产生一个最终版,给了我们一种帮助带范妮回到公众的注意力,给她由于识别和运气好的话,给这个世界带来了更多的她未发表的音乐。” |
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Separated by just
three years, Fanny and Felix Mendelssohn were nearly inseparable. Both
showed signs of prodigious musical talent as children, and they studied
composition together, learning from Berlin’s top instructors. Felix is
believed to have made his public debut before he turned 10, and was
writing works for strings and piano, including the “Overture to a
Midsummer Night’s Dream,” by his early teens. Fanny, meanwhile, was definitely keeping pace with her kid brother. By the age of 14 she’d memorized all 48 of Bach’s Preludes and Fugues and had begun composing her own work as well. In fact, several of the Mendelssohn children’s teachers considered Fanny the more naturally talented of the two—a feeling echoed by their own father. But despite the cultured, worldly circles the Mendelssohns moved in, and her father’s belief in her skills, it was Felix who was pushed to the forefront, while the idea of Fanny pursuing a professional musical career seemed a non-starter. In the early 19th century it simply wouldn’t do for a woman of her status to publish under her own name, let alone perform in public. Felix soon hit the road on a tour of Europe, where he would visit the capitals of music and dazzle newfound fans with both his composing and conducting skills. By his mid-20s, he was well on his way to establishing himself as one of the premiere composers of the Romantic Age. Fanny remained at home. But despite her father’s misgivings, she never abandoned her love of music. In fact, she became one of Berlin’s most popular musical benefactors, establishing a salon that drew from the city’s elite. These private concerts also gave Fanny a vehicle to perform her own compositions, and oh, did she have more than a few to share. See, Fanny had found at least one man in her life who actively encouraged her musical dreams. Her husband, the artist Wilhelm Hensel, would reportedly leave her with a blank piece of musical paper each day, which he hoped would be filled with notations by the time he’d returned home. And Fanny obliged. In all, she would compose nearly 500 works before her untimely death at age 41. Felix, by all account grief-stricken at his sister’s passing, died just six months later. Among those works were six pieces that Felix agreed to publish—but under his name. He may have regretted assisting his sister, though, when Britain’s Queen Victoria (unaware of its true authorship) named one of Fanny’s songs as her favorite. Another, remarkable work of Fanny’s never saw the light of day in her lifetime—and remained hidden for nearly 140 years. Titled the “Easter Sonata,” it was one of her earlier works, written when she was just 22 or 23. Little was known about the work until the original manuscript surfaced in a French bookstore in 1970. The buyer noticed the F. Mendelssohn signature, and announced to the world the discovery of a long-lost Felix Mendelssohn masterpiece. It would take another four decades, and a lot of detective work, to uncover the truth. In 2010, after hearing a recording of the work, then-graduate student Angela Mace Christian (who’d been studying Fanny’s personal diaries and musical albums), developed a hunch that all was not what it seemed with the sonata. She contacted the owner, who reluctantly allowed her to view the manuscript. Christian was able to match Fanny’s handwriting and musical notation with that on the composition, and was able to show that the individually-numbered pages were the ones known to be missing from her music album. Fanny’s family had also been working hard to ensure her musical genius was recognized. Her great-great-granddaughter, filmmaker Sheila Hayman, is working on a documentary on the remarkable find. And she hopes that this is just the beginning of Fanny Renaissance, telling the Telegraph that, “the continuing quest to locate the manuscript and produce a definitive edition, have given us a way to help bring Fanny back to public attention, give her due recognition and with luck, bring more of her unpublished music into the world. ” |
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Today in the
history of music On May 14, 1847, pianist and composer Fanny Mendelssohn suffered a fatal stroke at the age of 41.When his brother felix (Mendelssohn) heard the news, he "went into convulsions and fell unconscious for a while".Six months later, felix followed his sister to the grave. Felix Mendelssohn (1809-1847) was born in Hamburg to a jewish family.His grandfather was the philosopher Moses, his father Abraham was a successful banker, and felix grew up in the lap of luxury and culture.His mother, lea, a pianist, taught him his first piano lessons.His sister Fanny (1805-1847) was a capable pianist and composer, and a valuable friend of felix's. Mendelssohn had been in fortunate circumstances all his life, which made him stand out among the musicians.Mendelssohn was born in Hamburg on February 3, 1809, to a wealthy family. His father was a banker, and his mother was known at the time for her extensive cultural and musical talents. As a child, Mendelssohn lived in Berlin and received a formal, systematic and comprehensive education from the age of five.Mendelssohn began performing solo piano at the age of 9, and began composing music at the age of 10. By the time he was 11, he had written a cantata, a comedy opera, a piano trio, two piano sonatas, a violin sonata, four organics, three songs and other works.His music teacher, zeilt, President of the Berlin academy of vocal music, was proud of his protege's accomplishments.In November 1821, the prioress brought the 12-year-old Mendelssohn before Goethe, the great master of German literature. Mendelssohn's noble temperament and outstanding talent immediately won the favor of Goethe, he warmly received the little guest to stay.It was a very precious and enjoyable time. Mendelssohn benefited greatly from his association with Goethe.Goethe's profound and extensive thought, wisdom, wisdom, enterprising spirit and the elegant taste of advocating the beauty of classical music laid an important foundation for the formation of Mendelssohn's view of art. Because Mendelssohn lived in a cultured family, he often came into contact with the guests of the family Sunday gathering -- the celebrities of the cultural and intellectual circles, such as Heine, Hegel, swind, weber, mosheres, etc., under such an environment of food and education, his spirit and creation matured rapidly. Mendelssohn wrote the most in the last ten years of his life.When he was in the prime of his artistic career, he suffered from a series of neurological illnesses, especially the death of his sister, Fanny, who was deeply in love with him.Then Mendelssohn followed his sister and died on November 4, 1847, at the age of just under 39. In 1833 he was Dusseldorf city long position, especially in 1835 moved to leipzig and marriott's concert after the command, in addition to being buried in Berlin in 1829 that Bach's "Matthew suffering song" rediscovered in one hundred, also organized according to the historical sequence arrangement program and continuous held a concert, played series of Handel, Haydn symphony and the oratorio, Beethoven's "may" and "ninth symphony", etc.;Schubert's symphony in C major was first performed in leipzig under Mendelssohn after being "discovered" by schumann in 1838. "Marriage is the grave of love." this may be true for the average person, but the opposite is true for the Mendelssohn couple.Marriage is the starting point of their love, they from here to a better tomorrow. The happy marriage made Mendelssohn more determined in his career, and he threw himself into the intense work with great enthusiasm.Under his direction, the previously silent gravius orchestra grew into Europe's leading symphony orchestra.While conducting the orchestra, he accepted the position of head of the music department at the Berlin academy of arts.In leipzig, he founded Germany's first conservatory of music, which not only employed many well-known experts to teach there, but also taught the students himself.He strongly supported charities and often organized benefit concerts for the poor.Although he had many jobs and many social activities, he never stopped composing music. Songs, sonatas, overtures, concertos, symphonies...One after another, one after another, flowed out of his pen. He was only 17 when he wrote the beautiful prelude to a midsummer night's dream in 1826.In his youth, he devoted himself to music learning and creation, and also taught himself some courses of the university of Berlin, trying to enrich his knowledge in various aspects. Finally, he became one of the most cultured artists at that time. Between 1829 and 1832, Mendelssohn toured the British Isles, Switzerland, Paris, and Italy. Several of his major symphonies, such as the prelude to finger's cave, the Scottish symphony, and the Italian symphony, were written or conceived during this period.Mendelssohn had been to many countries, but he had only a special liking for England. Mendelssohn is a typical "only beauty" musician.His works tend to reflect the bright side of life, and his lyric music is dominant, mainly using the genre of urban life.He writes with distinct melodies and maintains a close connection with folk songs and dance music, with a strong local flavor and easy to understand content.Of all the subjects of interest to the romantic artist, he was closest to the theme of fantasy and nature.In the course of his life, fairy,.Fantasy images such as witches and mountain gods never left him, and there was a gradual increase in religious content in his later works. Mendelssohn's writing, almost all genres, symphonic music creation is one of the areas of his genius.Among his symphonies, the third symphony "Scotland" and the fourth symphony "Italy" are still often performed in concert, which are written from the impression he got in the spiral calendar years.Are worthy of the world music art treasure house treasures. Today's video: 1. Annie Sophie mutt performs the Mendelssohn violin concerto; 2.Riccardo shay conducts Mendelssohn's "a midsummer night's dream" with the lucsohn festival orchestra (lucsohn festival 2017). |
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| 珍妮·林德( Jenny Lind) | |||||||||||||||||||||||
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珍妮·林德 总的来说，与同时代的瓦格纳、柏柳兹和舒曼相比，门德尔松的个人生活似乎相当传统——除了他与瑞典女高音珍妮·林德的关系，他们是在1844年10月认识的。林德的丈夫奥托·戈德施密特(Otto Goldschmidt)的一份宣誓书目前保存在伦敦皇家音乐学院(Royal Academy of Music)门德尔松奖学金基金会(Mendelssohn Scholarship Foundation)的档案中。据报道，这份宣誓书描述了门德尔松1847年书面请求当时还未结婚的林德与他一起私奔到美国。这份宣誓书虽然没有盖章，但门德尔松奖学金基金会(Mendelssohn Scholarship Foundation)目前仍未公布，尽管有人要求公开。 门德尔松与林德见过很多次面，并与她合作，为她创作了歌剧《罗蕾莱》(Lorelei)，这部歌剧是根据罗蕾莱莱茵河少女的传说改编的;他去世时，歌剧尚未完成。据说，在他的清唱剧《伊利亚》(Elijah），《以利亚》(Hear Ye Israel))中，他使用了高f调，同时也记住了林德的声音。不过，直到林德去世后，她才在1848年12月的一场音乐会上演唱了这首歌。1847年，门德尔松参加了梅尔比尔的歌剧《罗伯特·勒迪贝尔》在伦敦的演出，这是一部他在音乐上不屑一顾的歌剧。和他在一起的音乐评论家亨利·乔里写道:“当我写作时，我看到了门德尔松的微笑，门德尔松享受着音乐。”林德的才能是无限的，他转过身来，看着我，仿佛心头的焦虑已经卸去了。他对林德小姐作为一名歌手的天赋的依恋是无限的，他对她成功的渴望也是无限的。” 门德尔松去世后，林德写道:“(他)是唯一给我的精神带来满足的人，我几乎一找到他，就又失去了他。”1869年，林德在他的出生地汉堡竖立了一块门德尔松纪念碑;1849年，她成立了门德尔松奖学金基金会，每两年向一位英国常驻青年作曲家颁发一个奖项，以纪念门德尔松。第一位奖学金获得者是1856年14岁的阿瑟·苏利文。 |
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Jenny Lind In general Mendelssohn's personal life seems to have been fairly conventional compared to his contemporaries Wagner, Berlioz, and Schumann – except for his relationship with Swedish soprano Jenny Lind, whom he met in October 1844. An affidavit from Lind's husband, Otto Goldschmidt, which is currently held in the archive of the Mendelssohn Scholarship Foundation at the Royal Academy of Music in London, reportedly describes Mendelssohn's 1847 written request for Lind, who was then not married, to elope with him to America. The affidavit, though unsealed, is currently unreleased by the Mendelssohn Scholarship Foundation, despite requests to make it public. Mendelssohn met and worked with Lind many times, and started an opera, Lorelei, for her, based on the legend of the Lorelei Rhine maidens; the opera was unfinished at his death. He is said to have included a high F-sharp in his oratorio Elijah ("Hear Ye Israel") with Lind's voice in mind, although she did not sing this part until after his death, at a concert in December 1848. In 1847 Mendelssohn attended a London performance of Meyerbeer's Robert le diable – an opera which musically he despised – in order to hear Lind's British debut, in the role of Alice. The music critic Henry Chorley, who was with him, wrote "I see as I write the smile with which Mendelssohn, whose enjoyment of Mdlle. Lind's talent was unlimited, turned round and looked at me, as if a load of anxiety had been taken off his mind. His attachment to Mlle. Lind's genius as a singer was unbounded, as was his desire for her success". Upon Mendelssohn's death Lind wrote, "[He was] the only person who brought fulfillment to my spirit, and almost as soon as I found him I lost him again". In 1869 Lind erected a plaque in Mendelssohn's memory at his birthplace in Hamburg; in 1849 she established the Mendelssohn Scholarship Foundation, which makes an award to a British resident young composer every two years in Mendelssohn's memory. The first winner of the scholarship was Arthur Sullivan, then aged 14, in 1856. |
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| 里卡尔多·夏依（Riccardo Chailly ） | |||||||||||||||||||||||
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里卡尔多·夏依（Riccardo Chailly
）生于1953年2月，意大利指挥家。他以歌剧指挥开始他的职业生涯，并逐渐将他的保留剧目扩展到包括交响乐。 里卡尔多出生于米兰一个音乐世家。他和父亲一起学习作曲。之后他在佩鲁贾和米兰的音乐学院学习。后来，他和佛朗哥·费拉拉一起学习指挥。年轻时，他还在一个节奏布鲁斯乐队打鼓。 20岁时，夏依成为米兰斯卡拉歌剧院Claudio Abbado乐队的助理指挥。1978年，他在那里首次担任指挥，很快就大受欢迎，曾在维也纳国家歌剧院、大都会歌剧院、皇家歌剧院、科文特花园、萨尔茨堡音乐节和巴伐利亚国家歌剧院演出。 1982年至1988年，他担任柏林广播交响乐团首席指挥，1983年至1986年担任伦敦爱乐乐团首席客座指挥。从1986年到1993年，他领导了博洛尼亚科莫纳大剧院。 里卡尔多·夏依(Riccardo Chailly)曾于1988年至2004年担任英国皇家盖博交响乐团(Royal Concertgebouw Orchestra)的首席指挥，在那里指挥布鲁克纳(Bruckner)和马勒(Mahler)的作品，使该乐团声名鹊起。他还以20分的成绩扩大了比赛项目。世纪和当代音乐。他在阿姆斯特丹指挥歌剧，在那里他以威尔第的《唐·卡罗》的演出结束了他的歌剧生涯。 2005年8月，里卡尔多·夏依成为莱比锡Gewandhausorchester乐团的首席指挥和莱比锡歌剧院乐团的音乐总监。 里卡尔多·夏依的录音(包括Decca)包括完整的马勒和布鲁克纳交响乐的循环。最近，他与Gewandhaus管弦乐团合作，录制了门德尔松(Mendelssohn)、勃拉姆斯(Brahms)和罗伯特·舒曼(Robert Schumann)的交响曲，由马勒重新编曲。 |
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Riccardo Chailly was born in Milan into a musical family. He
studied composition with his father, Luciano Chailly. He then
studied at the music conservatories in Perugia and Milan. He
later studied conducting with Franco Ferrara. In his youth he
also played drums in a rhythm and blues band. At the age of 20, Chailly became assistant conductor to Claudio Abbado at La Scala, Milan. He made his conducting debut there in 1978 and was soon in great demand, making appearances at the Vienna State Opera, the Metropolitan Opera, the Royal Opera House, Covent Garden, the Salzburg Festival and the Bavarian State Opera. From 1982 to 1988, Chailly was chief conductor of the Berlin Radio Symphony Orchestra and from 1983 to 1986 principal guest conductor of the London Philharmonic Orchestra. From 1986 to 1993 he led the Teatro Comunale of Bologna. Riccardo Chailly was chief conductor of the Royal Concertgebouw Orchestra from 1988 to 2004, where he conducted works by Bruckner and Mahler with which the orchestra made its name. He also broadened the repertoire with 20th. century and contemporary music. He conducted opera in Amsterdam, where he made his operatic farewell with a production of Verdi's Don Carlo. In August 2005, Riccardo Chailly became the chief conductor of the Gewandhausorchester in Leipzig and general music director of Oper Leipzig. Chailly's recordings (with Decca) include complete cycles of the symphonies of Mahler and Bruckner. More recently, with the Gewandhaus Orchestra, he has made recordings of Mendelssohn, Brahms and the Robert Schumann symphonies in reorchestration by Mahler. |
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| 里卡尔多·夏依（Riccardo Chailly ） | |||||||||||||||||||||||
| 2017年琉森音乐节 里卡尔多·夏伊指挥 琉森音乐节管弦乐团 演绎门德尔松《仲夏夜之梦》 和B小调交响曲“曼弗雷德” | |||||||||||||||||||||||
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Riccardo Chailly conducts Lucerne Festival Orchestra Mendelssohn & Tchaikovsky Lucerne Festival 2017 Lucerne Festival Orchestra Riccardo Chailly: Conductor Recorded live at the Concert Hall of KKL Luzern, Lucerne Festival, August 2017 2017年琉森音乐节 琉森音乐节管弦乐团 里卡尔多·夏伊指挥 演绎门德尔松与柴可夫斯基 2017年8月，琉森文化和会议中心 Program: Felix Mendelssohn - Midsummer Night's Dream, Overture, Op. 21 费利克斯·门德尔松：《仲夏夜之梦》序曲，Op. 21 Felix Mendelssohn - Excerpts from the Incidental Music to Shakespeare's Midsummer Night's Dream, op. 61 费利克斯·门德尔松：为莎士比亚《仲夏夜之梦》所作的戏剧配乐选段，Op. 61 Pyotr Ilyich Tchaikovsky - Manfred, Op. 58 Symphony B Minor in four scenes after Byron 彼得·伊里奇·柴可夫斯基：B小调交响曲“曼弗雷德”，Op. 58 基于拜伦同名诗歌所作的四乐章标题交响曲 里卡尔多·夏伊（Riccardo Chailly）和琉森音乐节交响乐团（Lucerne Festival Orchestra）在一场精彩的表演中演绎了门德尔松和柴可夫斯基的奇幻音乐。这次音乐会演绎的作品都受到文学传奇的启发：在阅过拜伦笔下的曼弗雷德的内心煎熬之后，柴可夫斯基在曲中表现的冰冷和悲惨的忧郁，与门德尔松带来的和莎士比亚同名喜剧里活泼调皮的仙子一般明亮欢快的表现，形成了鲜明对比。二者共同呼应了“奇幻”这一主题，由指挥家夏伊和琉森音乐节管弦乐团让这同样充满奇幻气氛的美丽的琉森湖畔焕发新生。 在这场音乐会上，琉森音乐节管弦乐团演奏了门德尔松的《仲夏夜之梦》的序曲，并摘录了《仲夏夜之梦》的一些著名段落以及柴可夫斯基的《曼弗雷德交响曲》。作为欢快活泼的莎士比亚喜剧的戏剧配乐，门德尔松演绎了精灵们的调皮嬉闹，情人的激情和夜晚的月光似水，与此同时柴可夫斯基的交响乐同样作为源自拜伦诗歌的同名之作，记录了悲观厌世不得安宁的主人公曼弗雷德的生活。这两部作品都表现了主人公认知自我寻觅自我的历程。 |
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