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莫扎特之旅－文化交流－音乐历史上的今天


	田润德编译文/图 2020-06-22 19:36

威廉·沃尔顿爵士（Sir William Walton，1902－1983）

詹姆斯·埃尼斯演奏沃尔顿小提琴协奏曲James Ehnes - Walton - Violin

Concerto

ames Ehnes - Walton - Violin Concerto
对于这个作品，我只想说walton的语言太美了！太优雅！简直orgasm！
三个乐章几个主题都在相似和不同之间找到一种良好的平衡。

音乐历史上的今天

1924年6月22日，威廉·沃尔顿的水边即景《朴茨茅斯角》（Portsmouth Point)在苏黎世公演。
威廉·特纳·沃尔顿爵士，OM（Sir William Turner Walton，1902年3月29日－1983年3月8日），英国作曲家、指挥家。生于兰开夏郡奥尔德姆（今属大曼彻斯特郡）。少年时代进入牛津大教堂合唱团，青年时代曾在伦敦爵士乐俱乐部弹奏钢琴，同时进行创作。他的音乐创作基本上是靠自学的。其风格深受斯特拉文斯基和普罗科菲耶夫影响。他的成名作品是为诗人伊迪丝·西特韦尔（Edith Sitwell）的诗歌《门面》
沃尔顿早期的作品（如《门面》）比较激进，但是不久之后他的风格趋向保守，尤其是他的电影配乐和皇家式音乐，充满了埃尔加特色的贵族风范。其中包括1931年他根据圣经但以理书部份内容而创作的清唱剧《伯沙撒王的宴会》，此曲亦成为他继《门面》后另一首为世人所认识的作品。及后他同时有份参电影配乐，最有名的包括曾获得奥斯卡最佳影片奖的《哈姆雷特》的配乐。劳伦斯·奥利维尔是他的重要合作伙伴。他的两部交响曲是音乐会上经常上演的作品。他为大提琴、中提琴和小提琴各写了一部协奏曲。
沃尔顿晚年主要是为其早期作品进行修改或重新配器。他曾多次尝试为指挥家安德烈·普列文谱写第三交响曲，但最后都放弃。在世时，他对指责他的音乐过于保守及不合时宜的评论而耿耿于怀。但他死后，人们重新评价他的音乐，认为他的音乐表露强烈但吸引人的个人主义色彩。

今日视频：1、詹姆斯·埃尼斯威廉·沃尔顿小提琴协奏曲；2、芭芭拉·哈尼根携手西蒙·拉特演绎威廉·沃尔顿《立面》。

1976年7月，威廉·特纳·沃尔顿爵士
由塞西尔Beaton
溴化印刷,1926
11 3/8。x 9又3/8英寸。(289毫米x238毫米)
买了1978
主要收集
NPG过去
这张照片拍摄于沃尔顿的序曲《朴茨茅斯点》在苏黎世首映的那一年。在这幅画像中，比顿手绘背景的立体派设计体现了沃尔顿作为现代派的声誉。
威廉·特纳·沃尔顿爵士(1902-1983)，作曲家。26幅肖像中的模特。
塞西尔·比顿(1904-1980)，摄影师、设计师和作家。艺术家与1112幅肖像有关，模特与361幅肖像有关。

Sir William Turner Walton
by Cecil Beaton
bromide print, 1926
11 3/8 in. x 9 3/8 in. (289 mm x 238 mm)
Purchased, 1978
Primary Collection
NPG P55
This photograph was taken the year Walton's overture Portsmouth Point was premiered in Zürich to great acclaim. In this portrait, the cubist design of Beaton's hand-painted background refers to Walton's reputation as a modernist.
Sir William Turner Walton (1902-1983), Composer. Sitter in 26 portraits.
Cecil Beaton (1904-1980), Photographer, designer and writer. Artist associated with 1112 portraits, Sitter associated with 361 portraits.

威廉·沃尔顿爵士（Sir William Walton）和他的夫人苏珊娜（Shushanah）

年轻的威廉·沃尔顿爵士（Sir William Walton）

托马斯·索德加德（Thomas Sondergard）

索德加德的海顿确实是“大乐队”海顿，在指挥第99号交响曲中取得了很强的弹性效果。他们非常注意清晰的蚀刻弦线对位，并在正确的位置放置戏剧性的重音。唯一的困难在于，正如托马斯•比查姆爵士(Sir Thomas Beecham)之前的许多作品所展示的那样，这是这位作曲家最迷人、最亲切的交响曲之一。琴弦的魅力在于宜人的风，在与琴弦的微妙互动中总有话要说。但在这里的前两个动作中却不是这样:索德加德根本没能从他们身上激发出多少火花或独创性。小步舞曲继续这种有点严厉的方式，无忧无虑的天真无假的三重唱很少，而结局是不可否认的令人兴奋的所有口音和强大的推力。我毫不怀疑，这种方式确实捕捉到了这位作曲家性格中一些刚强的活泼和粗暴，有时让我想起罗伊•古德曼(Roy Goodman)或西蒙•拉特尔爵士(Sir Simon Rattle)。但总的来说，对于这部作品来说，它似乎太过沉重，太过引人注目地轻描淡写了。
如果托马斯·索德加德的《海顿》听起来有点像贝多芬，那么他接下来的《贝多芬第二交响曲》听起来可能更像作曲家的《第七交响曲》，自始至终都有强烈的力度和戏剧感，而缓慢的乐章实际上模仿了后者丰富的弦乐造型。我的反应和上面非常相似:这部年轻的作品中所有的智慧和玩乐都到哪里去了?第一乐章有点厚颜无耻，但它确实引入了一个我以前从未听说过的创新。在一开始的琴弦与圆号之间的反复交替中，指挥家在将圆号的音符先设为弱音后设为非弱音之间交替进行，一遍又一遍地进行。我不知道这是怎么回事。在最后两个动作中，纯粹的力量占据了上风，几乎所有的动作都是有力而费力的。我不确定这种力度是否真的是有意为之:有时，由于合奏并不完美，乐团和指挥似乎并不总是完全一致。然而，结局有效地寻找了同样的白热和火山的重量在第七结局中发现(回忆卡洛斯·克莱伯)。不幸的是，我发现这只是响亮的，痛苦的坚持不懈，执着的强调定音鼓。当索德加德讲到贝多芬的第七交响曲时，他是如何演奏的，这将是很有趣的。

托马斯·索德加德（Thomas Sondergard）

Sondergaard’s Haydn is indeed ‘big-band’ Haydn, and the conductor achieved a strongly-resilient outcome in Symphony No. 99. Great attention was paid to articulating the sharply-etched string counterpoint, and to placing dramatic accents in the right places. The only difficulty is this is one of the composer’s most charming and genial symphonies, as many from Sir Thomas Beecham forward have shown. The key to the charm is the delightful winds, which always have something to say in their subtle interaction with the strings. But not in the first two movements here: Sondergaard simply failed to coax much sparkle or ingenuity from them at all. The Minuet carried on this somewhat severe approach, the carefree innocence of the Trio going for little, while the Finale was undeniably exciting with all its accents and powerful thrust. I have no doubt that this approach did capture some of the robust buoyancy and truculence in the composer’s make-up, at times reminding me a little of Roy Goodman or Sir Simon Rattle. Overall though, it seemed too heavy and conspicuously light on wit for this work in particular.

If Sondergaard’s Haydn might have sounded a bit like Beethoven, then his following Beethoven Second Symphony perhaps sounded more like the composer’s Seventh, with strong weight and drama throughout and a slow movement that actually mimicked the rich string shaping of the latter’s. My reactions were very similar to above: What happened to all the wit and play in this fresh youthful work? The first movement turned out sort of brazen and brash, but it did introduce one innovation that I had not heard before. In the opening repeated interchanges between the strings and horns, the conductor alternated between having the horn notes first muted and then non-muted, over and over again. I have no idea what this was about. It was in the final two movements that sheer force took over, virtually everything emphatic and laboured. I was not sure if this degree of force was really intended: sometimes it looked like the orchestra and the conductor were not always in complete agreement, since ensemble was not perfect. Nevertheless, the finale effectively sought the same white heat and volcanic weight that one finds in the finale of the Seventh (recall Carlos Kleiber). Unfortunately, I found this just loud and painfully unremitting, with obsessively-emphatic timpani. It will be interesting to hear how Sondergaard actually does Beethoven’s Seventh when he gets to it.

詹姆斯·埃尼斯(James Ehnes )

詹姆斯·埃尼斯对不同时期的小提琴作品有着浓厚的兴趣，“我的兴趣很广，”詹姆斯·埃尼斯说，“我发觉对于某一时期音乐的钻研，可以促使你去研究另一不同时期的音乐。你懂得越多，便越发觉得还有更多你不懂。如同对于宇宙理论上的概念：无论你与一点多近，你永远只能更接近它而到不了它。”
“我不是那样的琴手。他们会说：这六个月我将演奏勃拉姆斯和柴可夫斯基，这就是所有的曲目。当有一场音乐会，而且他们拿来一部我感兴趣的作品。我会说：哦，很好，我们就演它了。”
在挪威节日室内乐团的那次演奏会上，詹姆斯·埃尼斯还演奏了吸引人的巴赫D小调帕蒂塔中的《夏空》。如此，几年后一张双唱片的巴赫奏鸣曲与帕蒂塔的出现便是很自然的了。尽管他自己对此也有所惊异。
“我的巴赫受欢迎使我很欣慰。我也很骄傲。我想很多人对于要录制巴赫会很惊奇。人们都认为他的音乐需要你仔细揣摩，把自己深深浸入其中，如果可能的话，50到60年之后才能一试。”
“我能认同这种想法。不过到那时候我的耳朵就不管用了。我没有妻子和孩子，没有负担。我现在的年纪可以让我全身心投入到巴赫的世界中。我觉得这是一个机会，也许我以后会再录一次的，为什么不？”
在录巴赫的同时，詹姆斯·埃尼斯已录了布鲁赫的协奏曲、帕格尼尼的24首幻想曲，还有普罗苛菲耶夫的两首奏鸣曲和五首旋律曲。
当他只有十几岁的时候，在多伦多詹姆斯·埃尼斯就引起了Walter Homburger的注意。他曾经是伟大的加拿大演奏家格伦·古尔德的经纪人。
1999年底录制巴赫之前，詹姆斯·埃尼斯就得到了斯特拉底瓦利琴。现在还在用它演奏，并从美国富尔顿收藏馆得到了延长租期。这是一把1715年的Ex Marsick琴，是法国十九世纪小提琴家Martin Marsick的一对琴中的一把，另一把曾经属于传奇的大卫·奥易斯特拉赫。
“每天打开琴盒看到它，是多么令人陶醉啊！”以前，詹姆斯·埃尼斯有一份令人羡慕的工作，为一家加拿大公司测试斯特拉底瓦利琴。他也想拥有一把。“那时我大概二十一、二岁。总是有很多人到我家来。我记录下了每一把我演奏过的斯特拉底瓦利和瓜乃利琴。大约有70把斯特拉底瓦利琴。”
“当他们有东西让我看，很多纽约的艺术商都会打电话给我，也许他们有刚修补过的琴要我试。好啊，我会说，不过我认为这把Ex Marsick是所有的琴里最好的。”
詹姆斯1976年出生于加拿大，4岁开始学习小提琴。在9岁的时候成为著名的加拿大小提琴家Francis Chaplin的门生，1997年毕业于Julliard音乐学院。
詹姆斯·埃尼斯首次赢得全国性的声誉是在1987年，当时他只有11岁。在加拿大全国音乐比赛中，获得了弦乐类别的大奖。第二年，他在加拿大音乐节中获得了一等奖，成为当年最年轻的得奖者。在13岁的时候，他首次在蒙特利尔公开独奏演出。詹姆斯·埃尼斯斯获得奖项无数，包括Ivan Galamian一等奖、加拿大议会杰出艺术家奖(Virginia Parker Prize)。在年青一代的小提琴家中，詹姆斯·埃尼斯是崛起最迅速的一位。

詹姆斯·埃尼斯(James Ehnes )

James Ehnes has a keen interest in violins of different ages, he said
"I have a wide range of interests," said James Ehnes . "I've found that the study of music in one period prompts you to study music in another.The more you know, the more you don't know.It's like the theory of the universe: no matter how close you get, you can never get to it."
"I'm not that kind of player.They would say, I'm going to play Brahms and Tchaikovsky for six months, and that's all.When there's a concert and they bring me a work that I'm interested in.I would say, "Oh, good, let's do it."
At that concert with the Norwegian Festival Chamber Orchestra, James Ehnes played a gripping Bach D Minor rendition of Pattita's "Summer Sky."It was only natural, then, that a couple of years later a two-record Bach sonata and Patita would appear.Despite his own surprise.
"I'm glad my Bach is popular.I'm proud, too.I think a lot of people would be surprised to record Bach.People thought his music required you to study it, to immerse yourself in it, if possible, for 50 or 60 years."
"I can identify with that idea.But then my ears won't work.I have no wife, no children, no burdens.I'm at an age where I can immerse myself in Bach's world.I thought it was a chance, maybe I'll do it again later, why not?"
At the same time as Bach, James Ehnes had recorded Bruch's concertos, Paganini's 24 fantasia, two sonatas and five melodies by Prochofiev.
When he was a teenager, James Ehnes caught the eye of Walter Homburger in Toronto.He was the manager of the great Canadian player Glenn Gould.
Before he recorded Bach in late 1999, James Ehnes got the Stella Vari.It is still played and has an extended lease from the Fulton Collection in the United States.This is an Ex Marsick from 1715, one of a pair of pianos by 19th-century French violinist Martin Marsick, and the other once belonged to the legendary David Aulestrache.
"How fascinating it is to open the case and see it every day!"Once upon a time, James Ennis had an enviable job testing Stradivarius for a Canadian company.He wants one, too."I was about 21 or 22.A lot of people always come to my house.I recorded every Stradivarius and Guanelli I played.About seventy Stradivarius."
"When they have something to show me, a lot of art dealers in New York call me, and maybe they have a newly mended piano that they want me to try.Well, I'll say, but I think this Ex Marsick is the best of all."
Born in Canada in 1976, James began playing the violin at the age of four.He became a protegee of famous Canadian violinist Francis Chaplin at the age of nine and graduated from the Julliard School of Music in 1997.
James Ehnes first achieved national fame in 1987 when he was just 11 years old.In the Canadian National Music Competition, won the string music category award.The following year, he won first prize at the Canadian Music Festival, becoming the youngest winner of the year.At the age of 13, he gave his first public recital in Montreal.James Ehnes has won numerous awards, including Ivan Galamian first Prize and the Virginia Parker Prize for Outstanding Artist of the Canadian Parliament.Among the younger violinists, James Ehnes was one of the fastest rising.

Today in the history of music
William Walton's "Portsmouth Point" opened in Zurich on June 22, 1924.
Sir William Turner Walton (29 March 1902 -- 8 March 1983) was an English composer and conductor.Born in Oldham, Lancashire (now greater Manchester).He joined the Choir of Oxford Cathedral in his boyhood and played piano and wrote music in the Jazz Club of London in his youth.His musical composition is largely self-taught.The style was heavily influenced by Stravinsky and Prokofiev.He became famous for the poem "The Facade" by the poet Edith Sitwell.
Walton's early works (such as "Facade") were radical, but soon his style was more conservative, especially his film score and royal music, which were full of elgar's aristocratic characteristics.Among them is the 1931 oratorio The Feast of Belshazzar, based partly on the Biblical Book of Daniel, which became his next known work after The Facade.Later he also had film credits, most notably for the Oscar-winning Hamlet.Laurence Olivier was an important partner.His two symphonies are often performed in concerts.He wrote a concerto for cello, viola and violin.
In his later years, Walton mainly modified or rearranged his earlier works.He made several attempts to compose a third symphony for conductor Andre Previn, but finally gave up.In his lifetime, he resented criticism that his music was too conservative and out of place.But after his death, his music was reappraised for its strong but appealing individualism.
1. James Ennis William Walton Violin Concerto;2. Barbara Hanegan and Simon Larter in William Walton's Facade.

芭芭拉·汉尼根指挥芭芭拉·汉尼根厘米是加拿大女高音和指挥她的当代歌剧表演而闻名。
芭芭拉·汉尼根的曲目范围，无论是作为歌手还是指挥，都是令人震惊的，她的节目是高度对比的，但在看似不同的风格中发现了亲密。她录制的海顿交响乐。

Barbara Hannigan
Conductor
Barbara Hannigan CM is a Canadian soprano and conductor, known for her performances of contemporary opera.
The range of Barbara Hannigan's repertoire, both as a singer and a conductor, is astounding, and her programming is highly contrasted, yet finds affinities in seemingly disparate styles. Her recording of the Haydn Symphony #49- "La Passione" is quite simply, one of the best ever committed to disc. There is real drama, and beautiful detailing here.

芭芭拉·哈尼根携手西蒙·拉特演绎威廉·沃尔顿《立面》

在本场“深夜”音乐会中，西蒙·拉特爵士与女高音歌唱家芭芭拉·汉

尼根为我们带来了别样的音乐作品：淘气、精致、性感、叛逆，而且极

具英伦气质！威廉·沃尔顿于1923年创作的《立面》不仅使他一夜成名

，还让他获得了一个实至名归的称号——“当代英国音乐怪杰”。
2015年6月12日
深夜于柏林爱乐

Barbara Hanegan and Simon Larter in William Walton's 'Facade'
Sir Simon Larter and soprano Barbara Hannigan bring something else to the "late Night" concert: naughty, delicate, sexy, rebellious and very British!William Walton's 1923 facade not only made him an overnight sensation, it also earned him the well-deserved title of "The Grinch of Contemporary British music".
June 12, 2015
　

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