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| 特瑞·莱利(Terry Riley1935-) | |||||||||||||||||||||||
罗斯特罗波维奇演奏布洛赫大提琴音诗《所罗门》 |
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罗斯特罗波维奇——布洛赫 所罗门
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音乐历史上的今天
1880年7月24日，谱写了美利坚及希伯来民族音乐史诗的作曲家厄内斯特•布洛赫（Ernest
Bloch，1880——1959）在日内瓦出生，他是一个钟表匠的儿子。 |
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| 厄内斯特·布洛赫（Ernest Bloch) | |||||||||||||||||||||||
| 布洛赫的《所罗门》的诞生 | |||||||||||||||||||||||
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1914年第一次世界大战爆发后，布洛赫对战争的苦难越来越感到关切。
在这段时间里，他特别被圣经的《传道书》所感动，并开始为一部声音和管弦乐队的作品画草图，以此作为他对战争痛苦的感情的发泄。
下面的文本是对后来为所罗门的启发，是亚伯拉罕·索尔特斯在他的书“柳树下：现代犹太音乐的重生”中提出的《传道书》的摘录： 虚空就是虚空，一切皆是虚空， 人所有的劳动都有什么用处呢？ 他在日光下劳碌为什么？ 一代人过去了，另一代人来了； 大地永远长存。 太阳也在升起， 太阳下山了， 回到他所居住的地方。 风往南吹， 转往北方去； 它在自己的圈子里不停地旋转。 风又回到它的回路。 所有的河流都流入大海， 然而，大海还没有满； 去河边的地方， 他们又去了。 万物劳苦至倦： 人不能说出来。 眼睛不满足于看， 耳朵里也没有充满听觉。 曾经的一切 是那个应该是， 已经做过的事 是该做的； 太阳底下没有什么新东西。 （传道书1：2-9）“9” 1933年，布洛赫为罗马奥古斯特管弦乐团的一场演出写了节目笔记，其中他讲述了作品的创作背景和灵感。 这就是什洛莫的故事。 1915年末，我在日内瓦。 多年来，我一直在勾勒《传道书》的音乐背景，但法语、德语和英语都不适合我的目的，我对希伯来语了解不够。 因此，素描累积起来，然后睡觉。 有一天，我遇到了大提琴演奏家亚历山大·巴扬斯基和他的妻子。 我听到巴扬斯基的演奏，立刻成为他的朋友。 我给他演奏了我的手稿——《犹太诗》、《以色列交响曲》和《诗篇》——所有这些都没有出版，也没有引起任何人的兴趣。 巴甘斯基家族深受感动。 我玩的时候，妈妈。 巴扬斯基借了一支铅笔和一张纸，画了一个小雕像——她说的“非常感谢。 最后，在我可怕的孤独中，我找到了真正、温暖的朋友。 我的希望恢复了，我开始考虑为那个了不起的大提琴演奏家写一部作品。 为什么不使用我的传道书材料，而不是一个人的声音，有限的文本，使用一个无限大和更深刻的声音，可以说所有的语言-他的中提琴？ 我拿起我的草图，没有计划或计划，几乎不知道我要去哪里，我在我的狂想曲上工作了几天。 随着每一节的完成，我复制了独奏部分，巴扬斯基研究了它。 同时，Mme·巴扬斯基为我设计了一座雕像作为礼物。 她最初想雕刻一个基督，但后来决定了一个所罗门王。 我们俩差不多同时完成。 过了几个星期，我的传道书就完成了，既然传说把这本书归功于所罗门王，我就把它命名为所罗门。 “可以看出，我没有任何描述性的意图。我被《圣经》的文字所浸透，最重要的是，被世界上的苦难所浸透，对此我一直怀有极大的同情。 |
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| 布洛赫的《所罗门》——希伯来狂想曲 | |||||||||||||||||||||||
| 埃内斯特·布洛赫于1880年7月24日出生于日内瓦，1917年离开家乡瑞士，移居美国。 他留下了大量高质量的作品。 然而，在他的许多交响乐作品中，只有大提琴狂想曲《所罗门》（1915/16）在音乐会曲目中获得了永久的地位。 显然，当他看到所罗门国王的雕像时，他被启发去写它，这是由瑞士一位大提琴演奏家的妻子做的。 他写道：“我感兴趣的是犹太人的灵魂，我在圣经中感到振动的复杂、发光、激动的灵魂；先祖们的新鲜和天真；预言书中明显的暴力；犹太人对正义的疯狂的热爱；耶路撒冷传教士的绝望；悲伤和无边无际...... | |||||||||||||||||||||||
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“希伯来狂想曲”写的是古代希伯来君王所罗门的故事。所罗门被誉为“犹太人智慧之王”。在他统治的四十余年间，以色列处于发展的黄金时代。晚年的所罗门奢靡、昏聩，最终以色列走向分裂 听布洛赫的《所罗门》，则是另一种感受，这首曲子的副题是“希伯来狂想曲”，我们先来谈谈音乐中的“狂想曲”。狂想曲在音乐上出现，很多时候跟地方色彩脱不了关系，譬如李斯特的《匈牙利狂想曲》、斯坦福（Charles V. Stanford, 1852—1924）的《爱尔兰狂想曲》等，都采用了地方民谣或旋律作为曲子的骨干。另一种与地方色彩无关，而是作曲家因读了某部作品，或听了哪一首音乐而产生了联想，便写下“狂想曲”来表现他的非非之思，譬如勃拉姆斯采用了部分歌德的诗歌而写成的《女中音狂想曲（Alto Rhapsody）》，以及拉赫玛尼诺夫采用了部分帕格尼尼音乐旋律而写成的钢琴与管弦乐合奏的《帕格尼尼主题狂想曲》都是如此。尽管所表现的并没有严格的限制，但取名“狂想曲”的曲子，通常曲调明朗愉快，尤其与地名结合的狂想曲，里面有很多地方的歌谣舞曲，总是轻快又节奏分明的居多。 但布洛赫的这首“希伯来狂想曲”不是这样，全曲所写的是古代希伯来君王所罗门的故事。所罗门有“哲学家君王”之称，但他治理以色列以明君始，以昏君终，最后把以色列的政治与宗教系统都弄乱了，使得以色列落入分裂一途，他在以色列的历史上评价向来毁誉参半。布洛赫对他们族里的这位历史人物，似乎把注意力放在“毁”的部分比较多，当然他也表现了所罗门引以为傲的智慧与理性，但敌不过他好大喜功又纵欲的性格，故事以悲剧收场。 曲中的管弦乐部分，代表了所罗门光明的一面，而负责主奏的大提琴却代表他阴暗的一面，合奏与独奏时而夹缠，时而对立，不和谐的部分居多，整体气氛是低暗又冲突的。快结束之前，在管弦乐声达到最高潮的同时，却也是大提琴的声调变得空前绝望的时候，曲子很长，其中虽有起伏，但敌不过强烈悲观的气息。布鲁赫的那首虽然哀伤，然而结尾却是明亮的，让人产生一些崇高优美的联想。而这首布洛赫的，曲子自一开始就在矛盾冲突中进行，而且不安的情绪与音乐相终始，从不中断，直到最后以大提琴绝望的尾音结束。这真是一首有压力的曲子，听完了才让人有松脱开来的感觉，觉得我们的世界还算天高日暖，一切平常不满意的，当下都觉得好了起来。 都是矛盾的，基调是哀伤。这不只是音乐，也是以色列对希伯来历史的整体感觉吧。我听的这两首曲子，是由法国大提琴家富尼埃（Pierre Fournier, 1906—1986）演出的版本（DG），布鲁赫的那首，由马蒂农（Jean Martinon, 1910—1976）指挥巴黎拉穆勒交响乐团（Orchestre Lamoureux, Pari）合奏，布洛赫的那首由瓦伦斯坦（Alfred Wallenstein, 1898—1983）指挥柏林爱乐合奏。除了富尼埃的版本之外，布鲁赫的那首我还听过史塔克（Janos Starker, 1924—2013）的版本（Mercury），觉得还是富尼埃的殊胜。至于布洛赫的那首《所罗门》，演奏的名家很多，除了富尼埃的之外，还有罗斯特罗波维奇（DG）、麦斯基（Mischa Maisky,1948— ）（DG）与马友友（Sony）的版本，都值得推荐。其实各有长处，选一听之即可。 |
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| 厄内斯特·布洛赫（Ernest Bloch)传记封面 | |||||||||||||||||||||||
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Bloch's
Solomon -- Hebrew rhapsody "Hebrew Rhapsody" is about Solomon, the ancient Hebrew king.Solomon was known as the "King of wisdom of the Jews".Over the four decades of his rule, Israel was in a golden age of development.In his later years Solomon indulged in excess and dotage, and Israel eventually fell apart Listen to Bloch's Solomon, which is subtitled "Hebrew rhapsody," and let's talk about "rhapsody" in music.The appearance of rhapsody in music is often closely related to local colors. For example, Liszt's "Hungarian rhapsody" and Charles V. Stanford (1852-1924)'s "Irish Rhapsody" all adopted local ballads or melodies as the backbone of the songs.Another has nothing to do with local color, but a composer for read some work, or listen to what song music and produce lenovo, then write down "Rhapsody" to show his feifei, for instance, Brahms adopted part of Goethe's poems written by the mezzo-soprano Rhapsody (Alto Rhapsody) ", and rachmaninoff adopted part of paganini written music melody and the piano and orchestra courses "paganini theme" Rhapsody.Although the performance is not strictly limited, but the name "rhapsody" music, usually bright and happy tunes, especially the combination of rhapsody and place names, there are many places of the ballad dance, always light and clear rhythm in the majority. That's not the case with Bloch's "Hebrew Rhapsody," which tells the story of Solomon, the ancient Hebrew king.Known as the "king of philosophers," Solomon ended up ruling Israel with a good ruler and a bad one. He eventually messed up Israel's political and religious systems, causing the country to fall apart.Bloch seems to pay more attention to the "destruction" of this historical figure of his clan, and he also shows Solomon's proud wisdom and reason, but he is no match for his exuberant and extravagant character, and the story ends in tragedy. The orchestral part of the song represents the bright side of Solomon, while the leading cello part represents the dark side of Solomon. The ensemble and solo are sometimes intertwined and sometimes opposed. The discordant parts are mostly, and the overall atmosphere is low and dark and conflicting.Towards the end, at the same time as the orchestra reaches its climax, the cello's tone becomes more desperate than ever, and the song is long, with ups and downs but no match for a strong sense of pessimism.Though sad, Bruch's song has a bright ending that evokes lofty and beautiful associations.This piece by Bloch, on the other hand, is conflicted from the very beginning, and the restless mood continues with the music, without interruption, until it ends with the despairing end of the cello.This is really a piece of music with pressure. After listening to it, people feel loose and loose. They feel that the sky is high and the sun is warm in our world. Both are contradictory, and the tone is sad.It's not just music, it's Israel's overall sense of Hebrew history.The two pieces I listened to were a version (DG) performed by a French cellist, Pierre Fournier (1906-1986), the Orchestre Lamoureux, Pari, played by Jean Martinon (1910-1976) under the Orchestre Lamoureux, and the Bloch, under the Berlin Philharmonic orchestra of Alfred Wallenstein (1898-1983).In addition to fournier's version, I have heard Janos Starker's (1924-2013) version of Mercury, and I think it is fournier's triumph.As for Bloch's song "Solomon", there are many famous performers. Besides Fournier's, there are also the versions of Rostropovich (DG), Mischa Maisky (1948 -) and Sony, which are all worthy of recommendation.As a matter of fact, each has its strong points. |
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| 厄内斯特·布洛赫（Ernest Bloch)在创作中 | |||||||||||||||||||||||
| Ernest Bloch in writing | |||||||||||||||||||||||
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Today in
the history of music Ernest Bloch (1880 -- 1959), composer of an epic of American and Hebrew folk music, was born in Geneva on July 24. He was the son of a watchmaker. Ernest Bloch (1880-1959) was a Swiss-born American composer.In his early years, he studied under the famous Swiss composer Jacques Dalcroz.He has been a professor at the Geneva Conservatory, dean of the Cleveland Conservatory and dean of the San Francisco Conservatory.His works have a neoclassical style and draw nourishment from Jewish culture.He has written symphony of Israel, three Jewish Psalms for orchestral music and Solomon for music. Composer, born in Geneva on July 24, 1880.He studied composition at an early age from The Swiss composer Jacques Dalcroz and composed string quartets and symphonies by the age of 15.He studied with violinist Eugene Ysaye at the Brussels Conservatory in 1897, followed by intermittent studies with Knorr in Frankfurt and Tuiler in Munich.1903 He went to Paris, France. In Paris, the broad Hector created the symphonic poem "winter - spring and opera" Macbeth ", from the creation of this period can be aware of the Bloch affected by jose sol and Debussy and others, and can see himself in terms of speed and tonal change frequently, application mode, divertimento five forms and hobby empty, empty four degrees, etc.In the following years, he wrote several Jewish-inspired pieces, such as the Symphony for Israel;Orchestral "Three Jewish Poems";Baritone and band psalms 22 and cello and band rhapsody Solomon.He claims that the strong and distinct Jewish element contained in the above works is not a superficial application, but that he is deeply moved by the Jewish tradition described in the Old Testament. In 1915, Bloch became professor of composition at the Conservatory in Geneva.A year later he was invited to America to conduct for the dancer Maud Alan.He taught in New York from 1917 to 1920.He was the first President of the Cleveland Institute of Music from 1920 to 1925 and was naturalized in the United States in 1924.He was President of the San Francisco Conservatory of Music from 1926 to 1930.From 1930 to 1939 he lived mainly in Geneva and Rome, but spent his summers teaching composition at the University of California.During this period he composed the symphonic suite The Call;Baritone, chorus, band "Sacred Rites";Piano sonata;Cello and orchestra "Voices in the Wilderness";Violin concerto, etc. Broch returned to the United States in 1941 and settled in Agate Beach, Oregon.Professor of music at the University of California, Berkeley.During the last 20 years of his life, he composed the Grand Concerto for string quartets and strings;№ 2;Symphony in E Flat Major;Symphony Concerto for piano and orchestra;"Hebrew Rhapsody" for cello and orchestra;String quartet no. 2-5;The second piano Quintet. Today's video: 1. Rostropovich plays The Bloch cello poem "Solomon". |
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| 罗斯托罗波维奇（Mstislav Leopoldovich Rostropovich，1927－2007） | |||||||||||||||||||||||
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姆斯蒂斯拉夫·列奥波尔多维奇·罗斯托罗波维奇（Mstislav Leopoldovich
Rostropovich，1927－2007），俄罗斯杰出的大提琴家、指挥家，出生在阿塞拜疆巴库的一个音乐家庭，幼年从父母学习大提琴和钢琴，4岁学弹钢琴，七岁随父亲学琴，1940年13岁时首次作为大提琴家举办音乐会。1943年入莫斯科音乐学院学大提琴和作曲。
二十岁获布拉格世界青年联欢节一等奖，1950年在布拉格举行的国际大提琴比赛中再次获得第一名，起常到国外演出，赢得世界声誉。1956年起任莫斯科音乐学院教授。1964年被授予前苏联“人民艺术家”称号。1968年首次以指挥家身份在莫斯科大剧院指挥柴可夫斯基的《叶普根尼·奥涅金》。
他的演奏音色浓郁、雄浑，极富于戏剧性的表现力，技术炉火纯青，任何难题都不在话下，几乎为所有大提琴保留曲目都录了音。既能为妻子维谢尼甫斯卡娅的独唱弹伴奏，也能指挥歌剧和交响乐的演出，而且还写了许多室内乐作品。1970年10月31日，他写信给《真理报》声援被流放的获得诺贝尔文学奖的亚历山大·索尔仁尼琴，而被禁止演出。年他带妻子和两个女儿逃离苏联，后定居美国。1978年他们被剥夺苏联国籍。1990年1月被恢复俄罗斯国籍。 他一生荣誉无数。他是大英帝国荣誉骑士勋章、法国文化与艺术十字勋章、希腊凤凰勋章、联邦德国优异服务大十字勋章获得者。 罗斯特罗波维奇于2007年4月27日下午在莫斯科一所诊所内逝世。4月29日被安葬于新圣女修道院墓地。 |
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| 罗斯托罗波维奇（Mstislav Rostropovich）和夫人加林娜·维什涅夫斯卡亚娅（Galina Vishnevskaya) | |||||||||||||||||||||||
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Sam and Slavic
bordeaux, Leo hurwicz Ross toro, hospitals (Mstislav Leopoldovich
Rostropovich, 1927-2007), Russia's outstanding cellist, conductor, was
born in a music family, azerbaijan Baku childhood from a parent to study
the cello and piano, learn to play the piano at age four, seven, along
with the father, the piano at the age of 13, 1940 for the first time as
a cellist concerts.He studied cello and composition at the Moscow
Conservatory in 1943.At the age of 20, he won the first prize in the
Prague World Youth Festival. In 1950, he won the first place again in
the International Cello competition held in Prague. Since then, he has
often performed abroad and won worldwide fame.He was a professor at the
Moscow Conservatory of Music from 1956.He was awarded the title of
"People's Artist" of the former Soviet Union in 1964.He first conducted
Tchaikovsky's Epugeni Onegin as conductor at the Bolshoi Theatre in
1968.His playing was rich, powerful, theatrical, and skilled at almost
any problem. He recorded almost all his cello reservations.He
accompanied his wife Vesenipskaya in a solo, conducted operas and
symphonies, and wrote many chamber works.On October 31, 1970, he was
banned from performing after writing to Pravda in support of exiled
Nobel laureate Alexander Solzhenitsyn.He fled the Soviet Union with his
wife and two daughters in 1955 and settled in the United States.They
were stripped of their Soviet citizenship in 1978.He was reinstated as a
Russian citizen in January 1990. His life was full of honors.He is a recipient of the Order of the Legion d 'Honneur, the French Cross of Arts and Culture, the Greek Order of the Phoenix, and the Commonwealth Of Germany Grand Cross for Distinguished Service. Rostropovich died in a Moscow clinic on the afternoon of April 27, 2007.He was buried on 29 April in the Cemetery of the New Saint Convent. |
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| 罗斯托罗波维奇（Mstislav Rostropovich）和小提琴家梅纽因在一起 | |||||||||||||||||||||||
| Mstislav Rostropovich with Menuin, the violinist | |||||||||||||||||||||||
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| 罗斯特罗波维奇的珍贵名琴 | |||||||||||||||||||||||
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罗斯特罗波维奇是当今世界上最伟大的大提琴演奏家,同时也是一位杰出的音乐教育家和指挥家．罗斯特罗波维奇不仅艺术造诣极高而且为人正直,所以深受人们的尊敬与爱戴。 做为一位大提琴演奏家在音乐表演史的几百年中还没有一人能够像罗斯特罗波维奇那样获得如此之多的作曲家题献给他的作品——107 首大提琴作品和60 首管弦乐作品,由此可见他的演奏之精湛。 罗斯特罗波维奇不仅技艺超群,而且琴声优美、音质纯厚,所以由他演奏的乐曲就常带有勾魂摄魄的迷人色彩．当然罗斯特罗波维奇在音乐诠释中所能够表现出的如此多变音色和丰富细腻的情感,除他本人的超凡技艺之外,再有就是和他演奏时所使用的两把名贵大提琴有着密不可分的关系。 罗斯特罗波维奇拥有两把稀世名贵的大提琴,一把斯特拉底瓦里,一把斯托里奥．罗斯特罗波维奇把斯托里奥琴比喻作“妻子”,而把斯特拉底瓦里比喻成“情人”．在这两把名贵的大提琴中他虽然演奏使用最多的是“妻子”斯托里奥琴 (罗斯特罗波维奇大部分录音都是使用此琴演奏的) ,但他在内心中则更为地钟爱他的“情人”斯特拉底瓦里琴．关于这把斯特拉底瓦里琴还有一段有趣的历史故事: 那是在18 世纪初的17O9 年,法国里昂有位医生酷爱音乐并且尤为喜爱大提琴,他总想自己能够拥有一把世界上最好的大提琴,于是便辗转托人去请意大利的制琴名师斯特拉底瓦里定做．斯特拉底瓦里在接到订单后说道: 我不能保证我所做出的琴是世界上最好的,但我可以试一试,因为我有最棒的木材．当1711 年那位医生去取货时,斯特拉底瓦里开出的价格却高的简直令人咋舌,但这位医生在试听了之后非但没有计较,反而却付给了斯特拉底瓦里双倍的价钱……．后来到了拿破仑时代,这把琴便被当时最著名的大提琴演奏家和作曲家居波尔以2.5 万法国金法郎的代价从拍卖行中买走,于此之后这把斯特拉底瓦里琴便成为了他的珍爱并也随他的名字同叫“居波尔”。 在一次宫廷音乐会中,居波尔在拿破仑皇帝陛下的御前为其演奏音乐,当一曲奏毕之后,拿破仑被居波尔演奏的优美音乐所打动,遂也想要亲自拉两下大提琴凑凑趣．居波尔不敢违抗皇帝的旨意,便把大提琴递了过去．拿破仑乃一介武夫,他根本不懂这把名琴的价值,于是便用双腿夹住大提琴左右摇晃地胡乱拉了起来．拿破仑这天穿的是戎装,他的皮靴后跟上有一根长长的刺马针,就在他得意忘形之时,不想刺马针却在琴身上狠狠地蹭了一下,于是一道很长的刺痕便从此留在了这把名贵的大提琴琴身的一侧,至今仍清晰可见． (1997 年旅欧著名大提琴家王健先生回北京开音乐会,我们在闲聊时又谈起了这段趣闻,王健告诉我,罗斯特罗波维奇也曾亲口给他讲述过这段名琴的历史故事,并且还让他看了留在琴身上的“拿破仑伤痕”．) 罗斯特罗波维奇录制的唱片虽然很多,但大部分都不是采用这把琴演奏的,只有个别极少的几款才是,其中这张和伯恩斯坦合作的《舒曼大提琴协奏曲、布洛赫“所罗门”》 (EMICDC7493O72) 便是使用的这把斯特拉底瓦里名琴．更为有意思的是这版唱片录音的发行权是由英国EMI 公司所有,而Hi-FiVHS 录像带的版权则是归德意志唱片公司所拥有 (DGO73119-3) ,所以这款唱片就颇有些值得玩味与品赏的意趣。 |
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