Franz Konwitschny -理查·施特劳斯：家庭交响曲 Richard Strauss Sinfonia domestica Witt 1956 DG

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资源信息： 专辑英文名: Richard Strauss Sinfonia domestica;Witt 专辑中文名: 理查·施特劳斯：家庭交响曲 艺术家: Franz Konwitschny 资源格式: APE 版本: 1956 DG 发行时间: 1956年 地区: 德国 概述:

指挥：Franz Konwitschny 乐团：Sachsische Staatskapelle Dresden 录音：Kreuzkirche,Dresden,14-20 June 1956 发行：DG MONO 00289 477 5483 资源出处(Credit)：原发 专辑介绍： 有关Franz Konwitschny的一些介绍见： http://www.wunderhorn.com/node/11547 Konwitschny (1902-62), himself the son of a conductor, was born in northern Moravia, studying at Brno and then at Leipzig. As a violist he played under Furtwängler with the Gewandhaus. His conducting history began with the Stuttgart Opera from which début he moved successively as director to Freiburg, Frankfurt, Hannover, Hamburg and then to the Leipzig Gewandhausorchester from 1949 where he remained as chief conductor until his death. He held director positions with the Dresden and Berlin State Operas. His Ring at Covent Garden (1959) was reputedly outstanding indeed his strengths were said to lie primarily in the opera house. He died in Belgrade while conducting in a TV broadcast. A devout Catholic he was an adroit pragmatist operating with expedient aplomb in the service of music in both the Third Reich and in the DDR. His funeral, which attracted full state honours, was extraordinary, in the orthodoxy of East Germany, for including a Requiem Mass. His taste was for opera but he rapidly secured a firmly founded reputation in the concert hall as documented by this set each disc of which can be had separately. Details from the reviewer if wished. 'Konwhiskey' was his nickname amongst orchestral musicians: before performances of Tristan und Isolde he was reputed to down six bottles of champagne. He would take out his handkerchief during a performance, mopping his brow and then using it to wave to friends in the audience. These eccentricities (at least the last one!) are reminiscent of pianist, Vladimir de Pachmann with his notorious but quite unselfconscious spoken asides to audiences. Konwitschny's split-second drilled vigour and sheer heat are impressive. While he may have hated rehearsals and was noted for a relaxed hands-off approach he could instantaneously grasp control if the orchestra showed signs of 'slipping'. If you are familiar with the Berlin Classics roster you will have known or known of these discs as individual entries since the mid-1990s. This is their first excursion together as a major boxed set. 施特劳斯以一种独一无二的方式把自己事业早期家庭生活的幸福公之于众了。1904年，他第一次到美国访问，随身带去了一部新作的乐谱。当年3月21日，在卡内基大厅由作曲家本人指挥首次演出了这个作品。这就是《家庭交响曲》。这是一个庞大的乐章，它分为三个段落：1.引子与谐谑曲；2.柔板；3.二重赋格与终曲。施特劳斯首先宣布，人们应该把这部作品当作纯音乐来欣赏，但是，后来，他为这部乐曲写的题献：《献给我亲爱的妻子和我们的儿子》，却产生了双重含义。根据第二年发表的对《家庭交响曲》的三个主要主题的正式说明来看，它描绘的是丈夫、妻子和孩子。人们认为其中有一个段落描绘了婴儿沐浴时嬉戏喧闹的声音，另一个段落描绘的是欣喜若狂的姨妈正在说这个孩子长得“多么像爸爸啊！”和“多么像妈妈啊！”当孩子入睡时，还唱起了一首催眠曲，它还描绘了清晨7点钟起床的场面。 《家庭交响曲》是施特劳斯所有管弦乐作品中最受人攻击的作品之一。曾有人认为它是乏味的、毫无幽默感的作品，由于它直率地描绘了简单的家庭生活而使人感到非常窘迫，而且，人们常常把它作为范例来说明施特劳斯过分的幽默和拙劣的趣味。诚然，许多人并不欣赏这种特殊的幽默方式：用一只庞大的管弦乐队，即用最大的音乐形式、最复杂、最变化多样的技术手段去描绘人类关系中最温柔的东西。 然而，这些批评似乎都没有切中要害。《家庭交响曲》的真正弱点在于它音乐思维的参差不齐。这部作品有一些优美的段落，比如：优雅的摇篮曲，在柔板中动人心弦的爱情场面，但是，在这些绿色田园周围却堆积了大量的遗弃废物。它的旋律线变得枯燥、没有灵感，任何复调音乐和运用乐器的技法都无法掩饰它们固有的枯燥乏味。 （[美]理查德·A.列奥纳多著 文朴译《音乐之流》商务印书馆） 专辑曲目: Richard Strauss (1864-1949) Sinfonia domestica,op.53 [45'58] 1.I.Thema.Bewegt - Sehr lebhaft - Ruhig [4'51] 2.II.Scherzo.Munter [13'14] 3.III.Adagio [14'52] 4.IV.Finale.Sehr lebhaft [13'01] Friedrich Witt (1770-1836) Synphonie C-dur "Jenaer" [27'05] 5.I.Adagio - Allegro vivace [8'51] 6.II.Adagio cantabile [8'01] 7.III.Menuetto.Maestoso [3'58] 8.IV.Finale.Allegro [6'15]