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4楼
发表于 2025-9-4 09:11
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来自 日本
从网上摘选几则对Ernst Toch交响乐的评论，谨供了解参考。
This set combines three separately issued CDs of Ernst Toch?s Symphonies, which were recorded and released over a wide span of years: 1995?2002. Only the jewel case and the price have changed: this three-CD set sells for less than twice the price of each original CD. Even the three original booklets are included here. Joanne Forman and I each reviewed Symphonies Nos. 5 and 6 in Fanfare 20: 6. Paul A. Snook reviewed Nos. 2 and 3 in 24:5, and he and I each discussed the final installment in 28:1.
So you probably don?t need to be told, for a sixth time, that Toch (1887?1964) was a major composer in pre-World War II Germany who fled Hitler in 1934 and languished in Hollywood for well over a decade. Newly invigorated, he wrote all seven symphonies in his final 15 years. Hearing them all together, and in order, is both rewarding and revealing: Toch was a self-trained master who went his own way, without paying much attention to conventional forms or systems. The first three are gargantuan in reach if not in scale: tough, dense music sheathed in dissonant harmonies that can also relax into moments of sheer beauty. The Second Symphony tightens up the gentler, prolix First, and the Third?Toch?s Pulitzer Prize-winning masterpiece?concentrates the music into white-hot passion. This is my kind of music: high-voltage Hindemith, brash Prokofiev, and a smidgeon of Berg, but all Toch, all the time. The final four symphonies ease up on the pedal, becoming gradually lighter and, by No. 6, wittier. By a narrow margin, each symphony is shorter in performance than its predecessor. Just as Toch?s string quartets portray his music in Germany (even though the last two were written here), the symphonies define his American output. For all the details, dig out those earlier reviews, which will also be available on www.fanfaremag.com in the not-too-distant future.
Alun Francis, his Berlin Radio Symphony, and cpo all do an excellent job. The cited reviews considered the few earlier recordings, but only William Steinberg?s Pittsburgh Third (EMI 65868) is superior. One can imagine one of the world?s great orchestras doing even more justice to this intriguing cycle in the future, but don?t hold your breath.
FANFARE: James H. North
这套CD收录了恩斯特·托赫三张单独发行的交响曲CD，录制和发行年份跨度很长：1995年至2002年。只有CD盒和价格有所变化：这套三CD的售价不到原版CD的两倍。甚至连三本原版小册子也包含在内。我和乔安妮·福尔曼在《号角报》20:6中分别评测了第五和第六交响曲。保罗·A·斯诺克在《24:5》中评测了第二和第三交响曲，我和他分别在《28:1》中讨论了最后一部。
所以，你可能不需要第六次被告知，托赫（1887-1964）是二战前德国一位重要的作曲家，他于1934年逃离希特勒，并在好莱坞度过了十多年的时光。在重获新生后，他在人生的最后15年里创作了全部七部交响曲。将这些作品按顺序一起聆听，既令人欣喜又感悟颇深：托赫是一位自学成才的大师，他坚持自己的风格，并不拘泥于传统的形式或体系。前三部作品规模宏大，却又引人入胜：强劲厚重的音乐包裹在不和谐的和声中，却又能舒缓地展现出纯粹的美感。第二交响曲将较为柔和冗长的第一交响曲收敛起来，而第三交响曲——托赫的普利策奖获奖杰作——则将音乐浓缩成炽热的激情。这正是我喜欢的音乐类型：充满激情的兴德米特、奔放的普罗科菲耶夫，以及一丝贝尔格的韵味，但始终保留着托赫的风格。后四部交响曲的力度逐渐减弱，逐渐变得轻快，到第六部时，更加诙谐风趣。每一部交响曲的演奏时长都比前一部略短。正如托赫的弦乐四重奏展现了他在德国的音乐风格（尽管最后两部作品创作于此），他的交响曲也定义了他在美国的音乐创作。欲了解所有细节，请查阅那些早期的评论，它们不久的将来也会在www.fanfaremag.com上发布。
艾伦·弗朗西斯、他的柏林广播交响乐团以及首席爱乐乐团都表现出色。引用的评论参考了少数早期录音，但只有威廉·斯坦伯格的匹兹堡第三交响曲（EMI 65868）更胜一筹。可以想象，未来世界上伟大的交响乐团之一将更加出色地演绎这套引人入胜的系列作品，但先别急着期待。
Ernst Toch: Complete Symphonies Review by Uncle Dave Lewis
Ernst Toch was one of the top modern composers in Berlin until Hitler came to power, prompting his ultimate escape to the United States and Los Angeles, where he spent the last 30 years of his life. Prepossessed by the modernist "wisdom" that the symphony was dead, Toch avoided writing anything in the symphonic genre until a health crisis in the late '40s forced him to rethink his goals. In the last 14 years of his life, Toch produced seven full-length symphonies, of which the Symphony No. 3 garnered the Pulitzer Prize. Until the CPO series instituted by conductor Alun Francis with the Rundfunk-Sinfonieorchester Berlin in 1995, only the Symphony No. 3 had garnered a recording, that for Capitol by Leopold Stokowski and the Stokowski Symphony Orchestra. Between 1995 and 2002, Francis patiently parceled out three individual discs containing the entire cycle, combined in CPO's three-disc set Ernst Toch: Complete Symphonies.
Ernst Toch's cycle of seven symphonies are among the most compelling, original, and accomplished symphonic legacies left by any twentieth century composer. Stylistically, his music falls somewhere between that of Richard Strauss and Hindemith except that he is decidedly not a romantic and his music is neither as harsh nor satirical as that of Hindemith. The music moves seamlessly from one movement to the next developed as a continuous thread of argument, and in some cases it appears that one symphony might pick up where another left off, especially in the last three symphonies, written in a space of only 14 months. Although recorded over a period of seven years, Francis does his best to retain a consistent sound and approach through all of them, and it works. Francis also takes the spoken narration in Symphony No. 4, an element of that work that Antal Dorati refused to deliver when he conducted its premiere in 1957. Already, Toch was hoping to break down the fourth wall between auditor and performer in this pioneering work, dedicated to the memory of Edward MacDowell's widow.
This set is recommended strongly to devotees of Mahler and Shostakovich; whereas individual symphonies by certain, so-regarded "second rank" composers (such as the masterful Symphony No. 6 of Karl Amadeus Hartmann) occasionally reach the exalted level of these exalted symphonists, Toch's symphonies all belong in their class and should be better known. Ernst Toch: Complete Symphonies is the cheapest and most efficient way to get there, and Francis' performances are clear, strong, and unaffected, conceived with an aim to show off Toch's music for what it is.
在希特勒上台之前，恩斯特·托赫一直是柏林最顶尖的现代作曲家之一，这促使他最终逃往美国洛杉矶，并在那里度过了人生的最后30年。托赫被现代主义的“智慧”所迷惑，认为交响曲已死，因此一直避免创作任何交响乐作品，直到40年代末的一场健康危机迫使他重新思考自己的目标。在生命的最后14年里，托赫创作了七部完整的交响曲，其中第三交响曲荣获普利策奖。直到1995年指挥家阿伦·弗朗西斯与柏林广播交响乐团共同创立的CPO系列作品之前，只有第三交响曲获得过录音，即由利奥波德·斯托科夫斯基和斯托科夫斯基交响乐团为国会大厦剧院录制的。 1995年至2002年间，弗朗西斯耐心地将整部交响曲制作成三张独立的唱片，这些唱片被整合成CPO的三碟套装《恩斯特·托赫：交响曲全集》。
恩斯特·托赫的七部交响曲是二十世纪作曲家留下的最引人入胜、最具原创性、最杰出的交响乐遗产之一。从风格上讲，他的音乐介于理查·施特劳斯和欣德米特之间，但他绝对不是浪漫派作曲家，他的音乐也不像欣德米特那样尖锐或讽刺。音乐从一个乐章无缝过渡到下一个乐章，形成了一种连续的论证线索，在某些情况下，一部交响曲似乎可以衔接另一部交响曲的结尾，尤其是在最后三部交响曲中，这三部交响曲的创作时间仅为14个月。尽管录制时间跨度长达七年，但弗朗西斯始终竭尽全力保持着始终如一的音色和方法，并且取得了显著的效果。弗朗西斯还在第四交响曲中采用了口述叙事，这是安塔尔·多拉蒂在1957年指挥该作品首演时拒绝采用的元素。托赫早已希望在这部献给爱德华·麦克道威尔遗孀的开创性作品中打破听音者和演奏者之间的第四堵墙。
强烈推荐这套作品给马勒和肖斯塔科维奇的爱好者；虽然某些所谓的“二流”作曲家的个别交响曲（例如卡尔·阿马德乌斯·哈特曼的大师级第六交响曲）偶尔也能达到这些杰出交响家的崇高水平，但托赫的所有交响曲都属于他们的一流水平，应该得到更广泛的了解。恩斯特·托赫：完整交响曲是达到这一水平最经济、最有效的途径，弗朗西斯的演奏清晰、有力、自然，旨在展现托赫音乐的本质。
During his final years the composer himself spoke wistfully of himself as ‹the most forgotten composer in the world»; he too was a victim of Nazi madness, and for this reason we are happy to have rehabilitated him with our complete edition of his symphonies on three CDs – now available at a special reduced price in a boxed set. Ernst Toch was born in Vienna in 1887 as the son of a Jewish merchant of modest means and died in Los Angeles in 1964, and the places and times of his biography speak volumes. During the 1920s he was one of the most esteemed Austrian composers; conductors such as Erich Kleiber, Hermann Scherchen, Otto Klemperer, and Wilhelm Furtwängler performed his works; and then 1933 came, when Toch, fortunately was able to emigrate in time to the United States. Here he long kept his head above water by teaching. After a long period of creative paralysis, his compositional energy quite literally exploded after World War II. With an immense urge to express himself musically, he wrote seven symphonies within the shortest time and with them music that immediately appeals to the listener, in a modern form but with a romantic stance. Toch never denied his Austrian roots, and Mozart and Schubert were his musical gods. With technical mastery and the highest artistic candor, he added a musical color all of his own to the stylistic pluralism of the early twentieth century – and now it has finally been heard! In America he was praised for his mastery of contrapuntal design, wealth of color, and seemingly boundless powers of imagination.
作曲家晚年曾感伤地称自己是“世界上最被遗忘的作曲家”；他本人也曾是纳粹狂热统治的受害者，因此我们很荣幸地为他平反，推出了三张CD，其中包含他的完整交响曲——现在以特价套装的形式发售。恩斯特·托赫1887年出生于维也纳，父亲是一位家境贫寒的犹太商人，1964年卒于洛杉矶。他生平的地点和时间足以说明一切。20世纪20年代，他是奥地利最受尊敬的作曲家之一；埃里希·克莱伯、赫尔曼·舍尔兴、奥托·克伦佩勒和威廉·富特文格勒等指挥家都曾演绎过他的作品；1933年，托赫幸运地移民到美国。他在美国长期从事教学工作，维持生计。在长期创作停滞之后，他的作曲能量在二战后真正爆发。怀着强烈的音乐表达欲望，他在最短的时间内创作了七部交响曲，这些音乐以现代形式却又不失浪漫主义的风格，瞬间俘获了听众的心。托赫从未否认自己的奥地利血统，莫扎特和舒伯特是他的音乐偶像。凭借精湛的技艺和极致的艺术坦诚，他为二十世纪初的多元风格音乐增添了独特的音乐色彩——如今，它终于被世人所欣赏！在美国，他因其精湛的对位设计、丰富的色彩以及看似无限的想象力而备受赞誉。
Late in his life, despite his earlier prominence in Weimar, Germany, Ernst Toch sadly assessed his standing as “the world’s most forgotten composer.” Toch was among those Jewish refugee composers from the Third Reich who, having been disinterested (to varying degrees) in the religious practices of their forebears—and in some cases even distanced, by choice, from Jewish identity altogether—rediscovered a measure of that identity in America and became reacquainted with their Judaic roots. Some of that change in attitude can be linked to the Holocaust and its aftermath, but a part of the catalysis also lay in the relative openness of American society, especially within the art and music world, compared with the social structures and institutions of prewar Central Europe: its greater readiness for cross-cultural perspectives; its dialogue between avowed Jewish and non-Jewish elements; the greater variety of available options in terms of Jewish involvement; and an array of other sociological factors that permitted and even encouraged Judaic artistic expression outside parochial Jewish boundaries. In certain respects that potential for receptivity seems to have appertained in particular in the Los Angeles area, where Toch eventually settled.
Born into a typical middle-class Jewish merchant family in Vienna that was, insofar as we can ascertain, neither rigorously orthodox nor entirely divorced from moderate Jewish affiliation and occasional or nominal Judaic practices, Toch displayed considerable musical gifts as a child. With neither parental encouragement nor formal tutelage, he began composing on his own at an early age, using Mozart string quartets and then other scores of the established masters as his models. He remained entirely self-taught, completing six string quartets by the time he was seventeen. When in 1909 he was awarded the Mozart Prize in the quadrennial competition for young composers, he abandoned his medical studies at the University of Vienna. After a period at the conservatory in Frankfurt during which he pursued piano studies, he became a professor of composition at the Mannheim Hochschule für Musik and then served in the Austro-Hungarian Imperial Army during the First World War. After the war, Toch and his wife resettled in Germany, where over the next decade he achieved recognition as one of the leading personalities in German musical circles and, despite his own comparatively conservative approach, as one of the principal representatives of and advocates for the modernist international new music movement (Neue Musik) that generated so much attention throughout central and western Europe during the interwar years. Throughout the 1920s Toch achieved a string of successes at Germany’s principal modern music festivals, and his orchestral works were performed by some of the most celebrated conductors of the time. Probably beginning with his ninth string quartet (1919), Toch’s style progressed from the late Romanticism that had marked his earlier works, evolving into a more modern and less tonal-reliant approach, although he never abandoned tonality altogether.
In 1930 Toch completed his full-length opera Der Fächer (The Fan). That same year, he also composed the piece for which he is still best remembered and with which his name is most generally associated outside the specialized confines of 20th-century music circles: an incidental curiosity entitled The Geographical Fugue—for four-part speaking chorus, without pitches. In 1933, with the installation of the National Socialist regime in Germany, Toch’s music automatically fell into the category of “degenerate music” by virtue of his being a Jew, and its performance outside strictly Jewish confines or auspices was forbidden. As it was later recounted by his family, William Steinberg was in the midst of rehearsing Der Fächer in Cologne when storm troopers entered the concert hall and physically seized the baton from his hand. Toch’s deliberately distorted photograph subsequently appeared alongside those of fellow “forbidden” or “degenerate” composers—such as Schoenberg, Weill, Mendelssohn, Mahler, and Offenbach—in a special anti-Jewish issue of the well-known German music journal Die Musik, in which Hitler’s maxim was also quoted: “The Jew possesses no power or ability to create culture.” Many of Toch’s scores, together with others by Jewish composers, were soon burned; and publishers’ plates were destroyed.
On a trip to Florence—ironically together with Richard Strauss (Reichsmusikkanzler under the regime) representing Germany at an international music conference—Toch determined not to return and to seek refuge elsewhere. Living briefly in London, he wrote three film scores, including Catherine the Great and The Private Life of Don Juan. Then fellow émigrés in America helped him obtain a teaching position at the New School for Social Research, in New York, dubbed the “University in Exile.” Toch emigrated to America in 1934, where he was soon caught in the cross fire of a dispute between ASCAP and BMI that left him without a reliable publisher. His practical salvation (in terms of sustenance) came with the commission for further film scores—this time for Hollywood. He was nominated for several Academy Awards, and he and his family permanently settled in Los Angeles. Toch scored an additional thirteen motion pictures, but his serious concert music did not find much of an audience in America, and this became a source of growing frustration and even disillusionment for him. “However fortunate in securing refuge in America,” wrote his grandson, Lawrence Weschler, in a retrospective article in The Atlantic Monthly, “Toch was never to recover that lost sense of cultural resonance and buoyancy.”
After a dry spell between 1933 and 1947, Toch experienced a renewed sense of creative urgency, beginning with a return—after eighteen years—to the initial medium of his youth, the string quartet. Following a near-fatal heart attack, he turned for the first time to the symphony, and he produced seven symphonies during the last sixteen years of his life. The third was awarded a Pulitzer Prize in 1956.
Toch’s artistic credo involved a basic resistance to music categorization. He warned against attempting to force music into historical, generic, or period compartments, convinced that when one makes such an attempt, “either the music remains outside of you, or else you force it with all your might into one of those compartments, although it does not fit...and you blame the music.”
By: Neil W. Levin
恩斯特·托赫晚年，尽管早年在德国魏玛共和国声名显赫，却遗憾地将自己评为“世界上最被遗忘的作曲家”。托赫是来自第三帝国的犹太难民作曲家之一，他们对祖先的宗教活动（程度不一）漠不关心，有时甚至主动选择与犹太身份完全疏远。他们在美国重新发现了某种身份认同，并重新认识了自己的犹太根源。这种态度的转变部分与大屠杀及其后果有关，但部分催化因素也在于美国社会，尤其是在艺术和音乐领域，与战前中欧的社会结构和制度相比相对开放：美国社会对跨文化视角的接受度更高；公开的犹太教徒和非犹太教徒之间开展对话；犹太人参与的选项更加多样化；以及一系列其他社会因素，允许甚至鼓励犹太艺术在狭隘的犹太界限之外进行表达。在某些方面，这种接受潜能似乎尤其体现在托赫最终定居的洛杉矶地区。
托赫出生于维也纳一个典型的中产阶级犹太商人家庭，据我们所知，这个家庭既非严格的正统犹太教派，也未完全脱离温和的犹太教信仰，偶尔或名义上的犹太教习俗。托赫自幼便展现出非凡的音乐天赋。他既没有父母的鼓励，也没有正式的指导，很早就开始独立作曲，以莫扎特的弦乐四重奏以及其他大师的乐谱为范本。他完全自学成才，到17岁时就完成了六部弦乐四重奏。1909年，他在四年一度的青年作曲家大赛中荣获莫扎特奖，之后便放弃了在维也纳大学的医学学业。在法兰克福音乐学院学习钢琴一段时间后，他成为曼海姆音乐学院的作曲教授，并在第一次世界大战期间在奥匈帝国军队服役。战后，托赫和妻子定居德国，在接下来的十年里，他成为德国音乐界的领军人物之一。尽管他自己的风格相对保守，但他还是现代主义国际新音乐运动 (Neue Musik) 的主要代表和倡导者之一，该运动在两次世界大战期间引起了中欧和西欧的极大关注。整个 20 世纪 20 年代，托赫在德国主要的现代音乐节上取得了一系列成功，他的管弦乐作品由当时一些最著名的指挥家演奏。托赫的风格可能始于他的第九弦乐四重奏（1919年），从早期作品中标志性的晚期浪漫主义风格逐渐演变，转向更现代、更少依赖调性的创作手法，尽管他从未完全放弃调性。
1930年，托赫完成了他的长篇歌剧《扇子》（Der Fächer）。同年，他还创作了至今仍为人铭记、并在20世纪音乐圈外广为人知的作品：一部偶然创作的奇特之作——名为《地理赋格》——为四声部对白合唱，无音高。1933年，随着德国国家社会主义政权的建立，由于托赫是犹太人，他的音乐被自动归类为“堕落音乐”，在严格的犹太教规或犹太教场所之外演出是被禁止的。据其家人后来讲述，威廉·斯坦伯格当时正在科隆排练《猎手》，突击队员闯入音乐厅，从他手中夺走了指挥棒。托赫这张故意扭曲的照片随后与勋伯格、魏尔、门德尔松、马勒和奥芬巴赫等“禁忌”或“堕落”作曲家的照片一起出现在德国著名音乐杂志《音乐》的一期反犹特刊中，其中还引用了希特勒的名言：“犹太人没有创造文化的力量或能力。”托赫的许多乐谱，以及其他犹太作曲家的作品，很快就被焚毁；出版商的版画也被销毁。
托赫在佛罗伦萨旅行时——颇具讽刺意味的是，他与代表德国出席国际音乐会议的理查·施特劳斯（当时的德国国家音乐总监）同行——决定不再回国，另寻他处。他在伦敦短暂居住期间，创作了三部电影配乐，包括《叶卡捷琳娜大帝》和《唐璜的私生活》。之后，在美国的同胞帮助他在纽约社会研究新学院（被称为“流亡大学”）获得教职。1934年，托赫移民美国，很快便卷入了美国作曲家、作家和作曲家协会（ASCAP）和英国音乐协会（BMI）之间的纠纷，导致他失去了可靠的出版商。他（就生计而言）的实际解脱来自好莱坞的委托，他创作了更多电影配乐。他获得了数项奥斯卡提名，并和家人永久定居洛杉矶。托赫还为另外十三部电影配乐，但他的严肃音乐会音乐在美国却鲜有听众，这让他越来越感到沮丧，甚至感到幻灭。 “尽管托赫在美国获得了庇护，但他再也没有找回那种失去的文化共鸣和活力，”他的孙子劳伦斯·韦施勒在《大西洋月刊》的一篇回顾文章中写道，“但他再也没有找回那种失去的文化共鸣和活力。”
在经历了1933年至1947年的一段低谷期后，托赫重新感受到了创作的紧迫感，这始于十八年后他重返青年时代最初的创作媒介——弦乐四重奏。在一次几乎致命的心脏病发作后，他首次转向交响乐，并在生命的最后十六年创作了七部交响曲。第三部交响曲于1956年荣获普利策奖。
托赫的艺术信条在于对音乐分类的根本抗拒。他警告人们不要试图将音乐强行归入历史、类型或时期的范畴，并坚信当人们做出这样的尝试时，“要么音乐仍然在你之外，要么你会用尽全力将它强行塞进其中一个范畴，尽管它并不适合……而你却责怪音乐。”
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