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Georges Pretre -德彪西：阿夏家的没落 / 卡普莱：红死病的假面具 / 施密特：闹鬼的宫殿(Debussy：La Chute de la Mais

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资源信息：

专辑英文名

: Debussy：La Chute de la Maison Usher / Caplet：Conte Fantastique / Schmitt：Etude pour 'Le Palais Hante'

专辑中文名

: 德彪西：阿夏家的没落 / 卡普莱：红死病的假面具 / 施密特：闹鬼的宫殿

艺术家

: Georges Pretre

古典类型

: 歌剧

资源格式

: APE

发行时间

: 1993年08月17日

地区

: 法国

语言

: 法语

概述

作曲：

Achille-Claude Debussy, André Caplet, Florent Schmitt

指挥：

Georges Prêtre

歌唱家：

Christine Barbaux, Francois Le Roux, Pierre-Yves Le Maigat, Jean-Philippe Lafont

乐团：

Monte-Carlo Philharmonic Orchestra

发行日期：

1993-08-17

发行公司：

EMI

资源出处：

电驴搜索

CD购买：

专辑介绍：

由Georges Prêtre指挥的这张企鹅评介三星的专辑，曲目的选择非常冷门。曲目的内容也十分诡秘：三篇美国作家爱伦坡的作品，三位获过罗马奖的法国同时代作曲家，三首阴暗晦涩围绕死亡主题的音乐。这样奇特的组合，也让这张CD更加珍稀。

作家：

埃德加·爱伦·坡（Edgar Allan Poe)（1809～1849），十九世纪美国诗人、小说家和文学评论家，在世时长期担任报刊编辑工作。侦探小说(detective story）鼻祖、科幻小说(science fiction）先驱之一、恐怖小说(horror fiction）大师、短篇哥特小说巅峰、象征主义(symbolism）先驱之一，唯美主义(aestheticism）者。其作品是在任何时代都是“独一无二”的风格。语言和形式精致、优美，内容多样。爱伦·坡最著名的文艺理论是“效果论”。坡的文学主张，死亡美学和恐怖美学。坡力图在自己的作品中先确立某种效果，再为追求这种效果而思考创作。他在《怪异故事集》序中称“自己的作品绝大部分都是深思熟虑的苦心经营”。主要成就：侦探小说、恐怖小说、效果论代表作品：小说《黑猫》、《厄舍府的倒塌》，诗《乌鸦》

指挥：

Georges Prêtre [乔治·普莱] 1924 法国乔治·普莱特对于中国爱乐者来说是一个传奇式的名字。他出生在法国，在杜埃和巴黎接受音乐教育，起初主学小号，后转向指挥，拜克路易坦为师，先在马赛与里昂等地任助理指挥，1946年在巴黎喜歌剧院正式登台。1959年指挥普朗克的歌剧《人类之声》后成为闻名的现代音乐作品指挥家，担任过许多现代作品的首演，对歌剧也深有研究，成为法国代表性歌剧指挥。这位60年代斯卡拉歌剧院的音乐指导曾经是全球最知名的指挥家之一，他最富盛名的阶段是与玛利亚·卡拉斯的长期合作，这使得他们两人的名字在唱片和海报上成了经典组合。维也纳爱乐乐团在2007年的第一天就急切地对外公布了2008年维也纳新年音乐会的特邀指挥，法国人乔治·普莱特出人意外地当选。届时，1924年出生的普莱特将以84岁的高龄第一次指挥这个具有悠久历史的年度音乐盛会。这是维也纳新年音乐会上又一位新面孔的“老”艺术家担任指挥。普莱特在广大乐迷心目中，或许并非当今国际乐坛的顶尖指挥大师，实力却不可小视；他尤其擅长指挥歌剧及法国音乐，担任过巴黎歌剧院交响乐团团长，还曾是维也纳交响乐团的常任指挥，在EMI唱片公司留下过不少有价值的录音唱片。他为听众、观众所知，更多是源自1992年他带领柏林爱乐乐团，指挥了当年主题为“法国之夜”的瓦尔德尼夏季森林音乐会，精彩的演出令人印象深刻。普莱特在艺术风格上会展示出怎样的特色，人们都非常期待，2008年指挥家普莱特所带来的施特劳斯家族作品能够让人感到耳目一新！普莱特在1956-1963年期间任巴黎歌剧院交响乐团团长，还与卡拉斯精诚合作，为其指挥歌剧或演唱会。他对法国现代音乐造诣极深，是圣桑、普朗克音乐的权威诠释者。从1986年到1991年期间，普莱特是维也纳交响乐团的常任指挥。在2004年普莱特成为奥地利音乐之友协会的荣誉会员，在他80岁生日的那年还获得了奥地利科学与艺术的十字一级勋章，与维也纳爱乐乐团有着很深的联系。

01.La Chûte De La Maison Usher 阿夏家的没落 (又译：厄舍府的倒塌), L.112 (未完成)

(1908-1917)

作曲：

Achille-Claude Debussy [阿希尔-克洛德·德彪西] 1862-1918 法国德彪西一家原是农民世家，在约1800年他们由勃艮第迁至巴黎。而德彪西的父亲曼纽-阿希尔（Manuel Achille）则曾在海军当步兵七年，后来与妻子维多林定居圣日耳曼昂莱并经营一家瓷器店。克劳德于1862年8月22日出生于圣日耳曼昂莱，他也是曼纽夫妇的头一胎。曼纽希望他的儿子成为一个海员。1870年普法战争期间，德彪西举家搬迁到戛纳的姑姐克莱门汀（Clementine）家。克莱门汀为克劳德安排了钢琴课，由一位叫让·西汝蒂（Jean Cerutti）的意大利人担任教师。1872年，德彪西进入巴黎音乐学院，在那里学习了12年，他的作曲课、音乐理论及历史课、和声课、钢琴课、风琴课、声乐课老师们，几乎都是当时的知名音乐家。1880年到1882年，德彪西在俄罗斯，给冯·梅克夫人的孩子当音乐教师，巧的是这位夫人正是柴可夫斯基的赞助人。不过，虽然有这样的关系，看不出德彪西受过什么柴可夫斯基的影响。冯·梅克夫人测曾把得德彪西写的一个曲子《Danse bohémienne》寄给柴可夫斯基征求意见。柴可夫斯基回信说，这是一个非常美丽动听的段子，可惜太短了。 1883年德彪西回到巴黎音乐学院，他以他的《L'Enfant prodigue》获得罗马大奖，他获得了一份奖学金和前往设在意大利罗马的法兰西学院4年留学的资格。1885年-1887年，德彪西是在意大利罗马度过的。 1888年他没有完成罗马的学业，就离开那里，到德国拜罗伊特参加音乐节，在那里他被瓦格纳式的歌剧震憾了，他在拜罗伊特待到1889年才回到巴黎。瓦格纳早在1883年就去世了，但是他的音乐风格影响了青年德彪西。 1889年，巴黎举行世界博览会，那一年巴黎艾菲尔铁塔树立起来。在博览会上，德彪西听到了爪哇甘美朗的演奏，对十二平均律和五声调式印象深刻。 1918年3月25日，德彪西因直肠癌于巴黎逝世，享年56岁。德彪西自幼年起即受到印象派艺术的熏陶。他在马斯奈等前辈作曲家开创的法国音乐传统的影响下，结合了东方音乐，西班牙舞曲和爵士乐的一些特点，将法国印象派艺术手法运用到音乐上，创造出了其别具一格的和声。其音乐对自他已降的作曲家产生了深远的影响。德彪西被总括为印象派音乐的代表，虽然他本人并不同意，甚至设法远离这一称谓。一些作家如罗伯·施密兹（E. Robert Schmitz），塞西·格雷（CecilGray）亦认为德彪西是一位“象征主义者”而非“印象主义者”。《新格罗夫音乐辞典》内文也写到，将德彪西的音乐美学称为“印象主义”是不尽准确的。德彪西的代表作品有管弦乐《大海》，《牧神午后前奏曲》，钢琴组曲《贝加马斯克组曲》、《意象集》、《版画集》等；而他的创作最高峰则是歌剧《佩利亚斯与梅丽桑德》。水星上位于33.9°S, 347.5°W的撞击坑命名为德彪西撞击坑。

曲目介绍：

两幕歌剧，德彪西改编于爱伦·坡的同名小说，自撰脚本，作于1908-1917年，未完成。 1983年由布林(Blin)整理完成的版本可选皮莱特(Pretre)指挥蒙特卡罗爱乐乐团版（Barbaux, Lafont, Roux, Maigat演唱），EMI，CDM7 64687－2，《企鹅》评介三星。 ...... 1915年12月，正准备谱写《小提琴奏鸣曲》的德彪西，需要接受了一次结肠造口手术，以阻止癌细胞的蔓延，而当时战争已进入了残酷阶段，法国北部村落惨遭彻底毁灭，这些事情令他感到十分颓丧。赶在手术前，他倾注感情写下了一首悲伤的歌曲《流浪儿的圣诞节》。然而手术只成功了一半，他还必须接受放射治疗，他几乎完全不能行动，他在给朋友的信中说： “……而德彪西既然不能谱写音乐了，也就不再有理由继续存在了。我没有嗜好，他们除了音乐之外什么也没教我。……如果我注定很快就要消失于人世，那么我希望自己是最少尝试着恪尽职责。” 在这样艰难的境遇中，德彪西开始回到《阿夏家的没落》的创作中，到1916夏天，他一直都把精力用在这部象征主义与魔幻色彩的歌剧上；而同一年里，印象派绘画大师莫奈在位于巴黎附近的花园里，绘制出了一系列以“睡莲”为主题的作品。这年10月，病情稍有好转的德彪西随家人去法国南部的穆洛-阿尚卡，希望能够通过旅行找到创作的灵感。月底回到巴黎后，他开始断断续续地创作《小提琴奏鸣曲》，直到1917年3月才最终完成，耗费了他极大的心血。......

02.Conte Fantastique for harp & string quartet 'Masque of the Red Death' 为竖琴和弦乐四重奏所作幻想故事 “红死病的假面具”

作曲：

André Caplet [安德烈·卡普莱] 1878-1925 法国出生于从勒阿弗尔到翁弗勒尔的一艘船上，是一名音乐神童。1901年他获得罗马大奖，名列拉威尔之前。后来他成为德彪西的好友和助手，为德彪西的许多乐曲做了配器工作（如《塞巴斯蒂安的殉难》，《儿童园地》等）。1910年到波士顿歌剧院任职，一战爆发后参军入伍，在战斗中受到毒气攻击，留下后遗症，1925年死于胸膜炎。卡普莱的作品是典型的印象主义风格，受德彪西影响很大。他最出色的作品是艺术歌曲。

曲目介绍：

贵族们为躲避蔓延中的黑死病，在栖身的城堡中肆意狂欢。而戴着红死魔的假面的红死魔渗入城堡的舞会，开始收割四散逃窜的亡灵。相关英文介绍（英语好的朋友希望能翻译下）：

Conte fantastique

(1908) [I]By Roger Nichols[/I] Unlike Schmitt, who lived on until 1958 and came to be regarded, in the age of Boulez's Le marteau sans maître, as some kind of fossil, André Caplet died in 1925 from the effects of poison gas in the trenches of the First World War. He was only forty-seven. His death was widely regarded as a great tragedy for French music. In the years before the war he had revealed himself as a fine conductor (he directed the premiere of Debussy's The Martyrdom of Saint Sebastian, as well as being responsible for much of the orchestration) and as a promising composer. He won the Grand Prix de Rome the year after Schmitt with a cantata entitled Myrrha, beating Ravel into third place, and in the light of the Conte fantastique it is interesting to note that he must here have impressed the jury with his virtuosity in depicting a catastrophe: in this case “the sudden roaring of the floodwater.” Like Sir Simon Rattle nearly a century later, Caplet began his professional life as a timpanist, in the Colonne Orchestra. It is possible at least that this experience sharpened his rhythmic sense, but certainly his music from his earliest compositions is largely free of that languid drifting associated with the so-called Impressionist school. He was also restrained in his textures, never using five instruments when three would do. The Conte fantastique for harp and strings, inspired by Poe's tale “The Masque of the Red Death,” was published in 1924, but was based on an unpublished “symphonic study” dating from 1909. It is impossible therefore, without seeing this study, to be certain of what in the Conte is post-war and what pre-war. What is unmistakable, though, is Caplet's determination to rethink instrumental capabilities. Just as he did with the solo instrument in the Epiphanie for cello and orchestra of 1923, and before that with the voice in the Inscriptions champêtres of 1914, so here he liberates the harp from its traditional role of being purely pastoral, decorative, and decorous. Poe's tale can be read as a development of “The Haunted Palace.” Whereas in the poem the evil force invades arbitrarily, in the tale it is present from the start, giving the “deep seclusion” of Prince Prospero's “castellated abbey” a provisional air. Caplet's choice of the harp may initially seem odd, but in fact it works wonderfully well exactly because of the instrument's 19th-century connotations -- and indeed early 20th-century ones, as in the two Danses by Debussy and Ravel's Introduction and Allegro. Caplet employs this traditional language and these traditional textures in the central part of the piece in order to give it the feeling of a fairy tale: the cut of the melodies here is modal or pentatonic -- both traditionally signifying “far away and long ago.” His depiction of the Red Death, by contrast, draws on the most recent melodic and harmonic sources. The very first page of the score shows how far Caplet has moved in twenty years from orthodox, Prix de Rome platitudes. The harp's first notes are marked “haletant” -- “breathless.” Since the harp cannot breathe, and not breathing will hardly help the harpist, this may seem on the face of it a nonsensical instruction. But Caplet's idea is surely that the phrase should give the impression of the harp as a wind instrument whose breath is abruptly cut off after just six notes, where the player is ordered to damp the strings (“étouffez”). Admittedly, the structure of this opening, of an idea gradually burgeoning between silences, is borrowed from Debussy (see the opening bars of Pelléas et Mélisande), but Caplet's chromaticism comes nearer to Schoenberg; and it is perhaps relevant to note that Caplet conducted the first performance in France of Schoenberg's Five Orchestral Pieces in 1922, before a scandalized audience. The harp's third phrase here uses ten of the twelve chromatic notes to paint the picture of the Red Death stalking the countryside. Any composer would have to incorporate somehow the chiming of the ebony clock to mark the hours of the revels, at which “the dreams are still-frozen as they stand.” Caplet chooses to give the harpist only the chimes of eleven o'clock and the more fateful ones of midnight, upon which the masked figure of the Red Death appears, “tall and gaunt, and shrouded from head to foot in the habiliments of the grave.” The “buzz, or murmur” of the assembled company at this apparition is expressed in string tremolos, glissandos and harmonics that truly look forward to the textures imagined by Boulez thirty years later. Caplet's death was indeed a great tragedy.

03.Etude pour ' Le Palais Hanté' '闹鬼的宫殿'研究, Op. 49

作曲：

Florent Schmitt 弗洛朗·施密特 1870-1958 法国曾在巴黎师从弗雷与马斯奈，1900年获罗马作曲大奖，1922--1924年任里昂音乐学院院长。

曲目介绍：

相关英文介绍（英语好的朋友希望能翻译下）：

Le palais hanté, Op. 49

(1904) [I]By Roger Nichols[/I] In January 1936 the musical world of France was holding its breath. After the death of the revered composer and teacher Paul Dukas, the election was taking place for his successor in the Institut de France, that summit of glory for all French notables, and among the candidates was Igor Stravinsky, recently enrolled as a citizen of France. Surely the composer of Le sacre du printemps and Oedipus Rex was bound to trounce all opposition? In the event, Stravinsky received a mere four votes. The winner, with twenty-eight, was the sixty-five-year-old Florent Schmitt. The politics of the French musical world have often appeared to put those of ancient Byzantium in the shade and, while it was quite natural that a genius like Stravinsky should make enemies, there were no doubt other currents operating which an outsider will probably never be able to chart. But for Stravinsky's conqueror to have been Florent Schmitt has a certain historical rightness. Schmitt was born in the department of Meurthe-et-Moselle in Lorraine in 1870. After musical studies in Nancy, he entered the Paris Conservatoire in 1889 where his teachers included Théodore Dubois, André Gedalge, Massenet and Fauré. Every year from 1896 to 1900 he tried his hand at the competition known as the Grand Prix de Rome and in that last year won it with his cantata Sémiramis. Like all winning students, he then spent three years in Rome, from where he sent back to Paris the regulation annual envois -- large-scale choral or orchestral works demonstrating progress made under the influence of the Eternal City. Schmitt's last envoi, a setting of Psalm 47, “O clap your hands, all ye people,” published in 1904 (performed by the ASO on April 13, 1997), achieved considerable popularity for some years in France and elsewhere with its blend of the grandiose and the voluptuous, as did his “wordless drama” La tragédie de Salomé. Both works, being based on Biblical themes, could be seen as belonging to an established composing tradition and audiences hearing them would undoubtedly have known, without the benefit of program notes, what they were “about.” Schmitt's Étude pour 'Le palais hanté' d'après Edgar Allan Poe (“Study for 'The Haunted Palace' after Edgar Allan Poe”) was, on the contrary, aimed at an elite. Since it was published in the same year, 1904, as Psalm 47, it is tempting to regard Le palais hanté as in some sense complementary to it. If the former was a final gesture of conformity to the Establishment, the latter tapped into a private, reclusive stream that had been running through French intellectual life for many years. The popularity of Poe, in translations by Baudelaire and Mallarmé, may possibly have stemmed from the turbulence of French political life since 1789 and the lesson it taught that all things in this life are transitory and that, however good and stable institutions may appear, the ghost of evil ever lurks just round the corner. Whatever the reason, in 1890 Debussy was already planning a work based on some of Poe's writings and two years later the adolescent Ravel was making “very gloomy, very black” drawings for “Maelstrom” and “Manuscript found in a bottle.” Schmitt's achievement in Le palais hanté‚ was to marry the feeling of doom inherent in the story with the texture and lineaments of the Lisztian symphonic poem. Although Wagner has always been recognized as a strong, even overpowering influence on French music in the thirty or so years leading up to the First World War, there was an almost equally strong counterinfluence to be found in the orchestral works of Liszt, especially the Faust Symphony; where, as Ravel said, “you find the main themes of The Ring, and so much better orchestrated.” One problem for Schmitt in Le palais hanté‚ was that, while Liszt's symphonic technique was all about relevance and growth, Poe's story tells of arbitrary dissolution. Schmitt solved the problem of “relevant irrelevance” mainly through his use of the orchestra. Although his best work was done by 1914, his orchestration shows a mastery and individuality worthy of many a greater composer. Through this mastery and control he is able to convey that the haunted palace is still the same place as the unhaunted, but that its spirit and atmosphere have changed, and not for the better. Finally, to return to the Schmitt/Stravinsky imbroglio with which we began, it is instructive that Schmitt was so enthused by Stravinsky's ballet The Firebird in 1910 that he renamed his house “Villa Oiseau de Feu.” Stravinsky, on the other hand, soon grew tired of this early work, which showed all too clearly its 19th-century roots. Le palais hanté‚ likewise does not explore new paths. But the Institut, in choosing Schmitt before Stravinsky, was at least rewarding proven worth, even if in an established idiom. As has often been said, "to have an avant-garde, you have to have a garde."