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GRAINGER, Percy (1882–1961)
The Grainger Edition
Chan. 10638 (19)
Released by Chandos to mark the fiftieth anniversary of the composer’s death, the Grainger Edition is the most comprehensive collection of his music available. The 19-CD set comprises almost – but not quite – all of the composer’s output. This monumental project, which includes over 120 première recordings, was supervised by Barry Peter Ould of the Percy Grainger Society, as well as by other Grainger experts, notably Penelope Thwaites. You will find no concertos or symphonies here. The longest work, The Warriors (one of the composer’s most inventive scores), lasts under 19 minutes. The bulk of Grainger’s output are miniatures (a genre in which he excelled) and of which he famously wrote (or ‘dished up’, as the composer said) many versions of the same piece. That would be tiresome in less gifted hands, but Grainger was a master orchestrator and unfailingly conjured up an array of ear-tickling sonorities. His orchestrations are undoubtedly distinctive; but his ability, by rearranging works using different textures and harmonies to create, in effect, new works, is nothing short of miraculous. John Steane wrote in Gramophone, ‘Grainger is the Jupiter of composers: the unfeigned, unforced, Bringer of Jollity,’ and we heartily concur with his view. This set is available at the astonishing price of nineteen CDs for the cost of four, and it includes a superbly produced booklet with extensive notes on each piece and full texts. One of the great bargains of all time! Hickox is masterly in the orchestral items, with rhythms always resilient, both in bringing out the freshness of the well-known numbers like Shepherd’s Hey!, Handel in the Strand, Mock Morris and various versions of the Irish Tune from County Derry (all of them quite different) as well as presenting the originality and charm of such little-known numbers as Walking Tune. The Suite, In a Nutshell, which includes pieces like the Arrival Platform Humlet, well known on their own, has at its core a powerful and elaborate piece, Pastoral, which with its disturbing undertow belies its title. But there are many such surprises and in the pastoral charm of such numbers as English Dance No. 1, one is constantly surprised by the twists and turns of Grainger’s inventiveness, in melodic invention, orchestral colour and harmonic complexity. The items for chorus and orchestra provide wonderful sonorities. In the darkly intense Shallow Brown Hickox has a clear advantage in an excellent baritone soloist (Stephen Varcoe), with an equally fine vocal ensemble. Hickox’s recording of the Irish Tune from County Derry (the ‘Londonderry air’) has an extended, elaborate setting. Ye Banks and Braes is another item given in a version previously unrecorded, with a whistled descant. Among the pieces completely new to disc are the Marching Tune and Early One Morning. Also most striking is the brief, keenly original choral piece, The Lonely Desert-man Sees the Tents of the Happy Tribes, here given a dedicated performance, with the tenor intoning a theme from Grainger’s orchestral piece, The Warriors, and the distant chorus chattering a chant borrowed from his Tribute to Foster. Lusty items such as The Widow’s Party raise a smile, while (in contrast to the other choral items) The Running of Shindand and Tiger-Tiger are both short, poignant works for cello quintet; the collection of works for chorus and orchestra is interspersed with other orchestral items, such as a particularly perky version of Handel in the Strand, and a première recording of a gorgeous work called Dreamery. The seven-minute Scotch Strathspey and Reel for chorus and orchestra is an exhilarating tour de force of invention and excitement. A third volume of works for chorus and orchestra contains many highlights, including his extraordinary Random Round: originally conceived as a piece to be improvised, the composer eventually wrote it out in a more conventional manner, but the result is not at all conventional and it builds up to a white-hot level of inspired excitement, its haunting harmonies lingering long in the mind after the music has ended.
From his earliest years Grainger was drawn to Scandinavian and Icelandic literature, and it is apt that a recording was made with the Danish National Radio Choir and Symphony Orchestra. This stimulating and rewarding collection centres on music directly influenced by his immersion in Scandinavian cultures and the repertoire is all little known, except perhaps the Danish Folk-song Suite, with its highly exotic orchestration, winningly presented here. Among the other orchestral items, the rollicking Crew of the Long Serpent, the colourful Variations, and the much more extended and lusciously scored Tribute to a Nordic Princess stand out. In the complex opening choral piece, Father and Daughter, a traditional Danish folk dance is mixed up with a theme of Grainger’s own. The jolly, concerted Merry Wedding is sung in English: it draws on a folk poem for its text, but is musically original. Dalvisa is a delightful vocalise, using the same melody Alfvén featured as the centrepiece in his Midsummer Rhapsody. Splendid performances.
The St Martin’s Academy Chorus sings beautifully in the favourite folksongs, such as Mo Nighean Dubh (My Dark-haired Maiden), Ye Banks and Braes, Early One Morning and the Londonderry Air, all of which resound in the memory. There are many attractive novelties, too, such as Grainger’s version of the Agincourt Song, the four diverse Jungle Book verses and Love at First Sight receiving their first recording. The latter was written by Grainger’s wife, Ella, though harmonized and arranged for soprano solo and mixed chorus by her husband; she questions in a moment of happiness whether such love can really last after the seductive initial impulse. The result is charming.
The two wind-band collections are especially fun discs. The splendid players of the Royal Northern College of Music Wind Orchestra clearly enjoy Grainger’s rhythmic buoyancy, while relishing his feeling for wind colour. A good example is in the engaging Hill Songs, as well as the rich sonorities found in the powerful and remarkable The Power of Rome and the Christian Heart, and equally so in this characteristically imaginative arrangement of the Londonderry Air for band and pipe organ. Bell Piece (a ‘ramble’ on Dowland’s melancholy air, Now, O Now I Needs Must Part) begins with a tenor solo with piano, before the wind players gently steal in. In the Children’s March members of the band are invited twice to sing a vocalise when they are not playing. Many of the pieces are well known in Grainger’s alternative arrangements, but this version of Grainger’s most popular piece, Country Gardens, is not just an arrangement of the piano version, but, as he explained himself, ‘a new piece in every way’. The Faeroe Island Dance in this late band version of 1954 has a pivoting ostinato for horns that echoes the opening of Vaughan Williams’s Fifth Symphony, before launching into the dance proper, with echoes of The Rite of Spring. Altogether fascinating and greatly enjoyable programmes, strikingly well directed by Timothy Reynish and Clark Rundell.
The two volumes of chamber-music works show no lack of invention from the composer’s colour palette. Indeed, Grainger’s scoring is as ever vividly captivating, and never more so than in his arrangements of Lisbon and Walking Tune (both for wind quintet), or in the accompaniment to the delightful melody of The Shoemaker from Jerusalem (with flute, trumpet, strings and piano (four hands)). All the well-known numbers, such as Handel in the Strand, emerge as freshly enjoyable as in their bigger-clothed versions. Pieces like La Scandinavie show Grainger’s mastery of the folk-music idiom, infusing his distinctive style into folk tunes to produces a totally convincing and utterly charming work. One relishes the lusty writing (and performance) of Lord Peter’s Stable-boy, as well as the comic numbers such as Hubby and Wifey, as much as the reflective numbers such as The Nightingale (scored for cello and harmonium) and the poignant Died for Love. The performances, with the Academy of St Martin-in-the-Fields Chamber Ensemble and the assortment of vocal soloists, are quite superb.
The three volumes of songs are all characterfully done by Stephen Varcoe, Della Jones and Martyn Hill. Stephen Varcoe is obviously at home in his recordings of the folksongs. Most of them are set fairly simply, as in the lovely opening of Willow, Willow, or the bold, jiggy narrative of The Lost Lady Found, while the pretty maid milking her cow is very touching. Varcoe’s vernacular account of Kipling’s Soldier, soldier come from the wars is especially successful, searing in its intensity and one of the finest anti-war songs ever penned. Hard Hearted Barb’ra is delightfully done too, as is Grainger’s own setting of Longfellow’s The Secret of the Sea. Shallow Brown, which ends his programme, is very dramatic indeed. All the songs are helped by Penelope Thwaites’s strong accompaniment; indeed, she makes an admirable contribution throughout both this and the other two CDs in this set.
Della Jones clearly relishes this repertoire and she brings out beautifully all the various and varied emotions the songs are intended to convey. In Hubby and Wifey she is joined by Stephen Varcoe, and the comic effect is delicious; while the Colonial Song is wonderfully sentimental. The Lonely Desert-man Sees the Tents is typical of Grainger’s ability to paint beautiful mind-pictures with evocative accompaniments and haunting melody, and it is beautifully sung by Mark Padmore, as well as by Della Jones and Stephen Varcoe.
Martyn Hill provides almost operatic drama in his Nine Settings of Rudyard Kipling, but no more than the music can bear. The folksy elements of the Three Settings of Robert Burns are beautifully done, as is the memorable The Twa Corbies, performed with much character and feeling. Surprises and novelty abound in Grainger songs, and there is not a dull one anywhere.
The three volumes of solo piano music are performed by the indefatigable champion of Grainger, Penelope Thwaites. Another CD features no fewer than five pianists to perform Grainger’s multi-piano works. Penelope Thwaites notes that ‘the balancing of textures to bring out key melodic strands can often be achieved more clearly in Grainger’s multi-piano versions’, a remark noticeably true in The Warriors. Random Round is strikingly effective here and so too is the gentle Ye Banks and Braes o’ Bonnie Doon, clearly one of his favourite folk tunes, which turns up in various guises throughout this box set, while it is almost impossible not to tap one’s toes at the beginning of the jaunty Jutish Medley which follows. Chandos admirably surmount the complication of recording three pianos at once.
As for the three volumes of solo piano music, Penelope Thwaites understands the idiom totally. From the Prelude in G which opens the first of her three CDs, one is captivated by the charm of the music – in this case a very early work – as well as by all the various ‘character’ pieces. Naturally, there are piano versions of all the famous pieces, as well as all sorts of delightful surprises, all beautifully played and recorded.
为纪念作曲家逝世五十周年，Chandos唱片推出的《格莱格作品全集》堪称其音乐最全面的典藏。这套19CD的合集几乎——虽非完全——收录了作曲家全部创作。这项浩大工程包含120余部作品的首录版本，由珀西·格莱格协会的巴里·彼得·奥尔德与格莱格研究专家佩内洛普·特威茨等人监制。这里找不到传统协奏曲或交响曲，篇幅最长的《武士》（作曲家最具创意的乐谱之一）也不足19分钟。格莱格多数作品都是他擅长的微型体裁，且常对同一曲目创作多个版本（用其原话说是"翻炒"）。这种创作方式若换作才情稍逊者难免乏味，但格莱格身为配器大师，总能变幻出令人耳界大开的音效。他独特的管弦乐改编能力堪称奇迹——通过调整织体与和声，实质上创造出全新作品。约翰·斯泰恩在《留声机》杂志评价："格莱格是作曲家中的朱庇特：真挚自然，欢乐使者"，我们深以为然。这套合集以四张CD的价格收录十九张CD，附赠制作精良的解说册，内含每部作品的详尽注释与完整文本，堪称史上最超值的音乐瑰宝之一。
希科克斯在管弦乐作品中展现出大师风范，无论是演绎《牧羊人的嘿！》《亨德尔在斯特兰德》《莫克莫里斯》等名曲的清新气质，还是呈现《行走小调》等冷门作品的原创魅力，其弹性节奏处理始终精准绝伦。《坚果壳组曲》包含《抵达平台哼鸣曲》等独立名篇，核心乐章《田园》却以暗流涌动的复杂织体颠覆标题暗示。诸如《英格兰舞曲第一号》等作品更不断以旋律创意、管弦色彩与和声复杂性带来惊喜。合唱与管弦乐作品同样音效绝妙——在阴郁浓烈的《浅棕》中，希科克斯凭借杰出男中音独唱（斯蒂芬·瓦尔科）与优秀合唱团的配合占据明显优势。其《德里郡爱尔兰调》（即《伦敦德里小调》）的录音采用扩展版编配，《河岸与山坡》则以含口哨高音声部的未录音版本呈现。首次灌录的《进行曲》与《清晨初醒》外，极简而创新的合唱小品《孤独沙漠旅人望见幸福部落的帐篷》尤为夺目——男高音吟诵着《武士》的主题，远处合唱团则借用《致敬福斯特》的吟唱。欢快的《寡妇的派对》令人莞尔，而（与其他合唱作品形成反差）《辛丹德奔袭》与《老虎》则是为大提琴五重奏创作的 poignant 短章。合唱作品集中还穿插着《亨德尔在斯特兰德》的活泼版本与《梦境》等首录瑰宝，七分钟长的《苏格兰斯特拉斯佩舞与里尔舞》更将创意与激情推向巅峰。第三卷合唱作品中的《随机轮唱》堪称高潮——这部本即兴作品最终以传统记谱固定，却成就了非传统的听觉体验，其萦绕心间的和声在乐曲结束后仍久久回荡。
格莱格自幼迷恋斯堪的纳维亚文学，由丹麦国家广播合唱团与交响乐团演绎的专辑恰如其分。这套引人入胜的合辑聚焦北欧文化对其创作的影响，除《丹麦民谣组曲》凭借异域配器稍具知名度外，其余均为鲜为人知的珍品。管弦乐作品中，《长蛇号船员》的豪迈，《变奏曲》的绚烂，以及配器奢华的《致敬北欧公主》皆属翘楚。复杂的开场合唱《父与女》将丹麦传统民舞与作曲家原创主题熔于一炉。用英语演唱的《欢乐婚礼》文本源自民谣诗作，音乐却充满原创性。《山谷之歌》作为人声练习曲，采用了阿尔芬《仲夏狂想曲》的核心旋律。演出水准堪称辉煌。
圣马丁学院合唱团在《我的黑发姑娘》《河岸与山坡》《清晨初醒》等经典民谣中展现出绝美音色。《阿金库尔之歌》的格莱格改编版、《丛林之书》四则寓言诗及首录的《一见钟情》等新颖曲目同样迷人。后者由格莱格之妻埃拉作词，经其夫改编为女高音与混声合唱，以幸福诘问探讨激情的永恒性，成果令人陶醉。
两张管乐合奏专辑尤其妙趣横生。皇家北方音乐学院管乐团的演奏者们显然享受着格莱格独特的节奏弹性，对其管乐音色的把握更是精妙。《山歌》的迷人演绎，《罗马之力与基督之心》的丰沛音响，以及为管乐团与管风琴改编的《伦敦德里小调》均体现其想象力。以道兰忧郁旋律《此刻，我必须离去》为基底的《钟声小品》由男高音与钢琴起始，管乐声部渐次潜入。《儿童进行曲》中，乐手需在休止时演唱人声片段。许多作品另有知名改编版，但此版《乡村花园》绝非简单移植——如作曲家所言，这是"全方位的新作"。1954年版《法罗岛舞曲》以圆号顽固音型呼应沃恩·威廉斯《第五交响曲》开场，随后转入带有《春之祭》回响的舞曲段落。蒂莫西·雷尼什与克拉克·伦德尔指挥的这两套节目既引人入胜又赏心悦目。
两卷室内乐作品充分展现了作曲家音色调色板上的创造力。无论是为木管五重奏改编的《里斯本》《行走小调》，还是为长笛、小号、弦乐与四手联钢琴配器的《耶路撒冷鞋匠》，格莱格的编配始终摄人心魄。《亨德尔在斯特兰德》等名作在精简编制下焕发同样鲜活的魅力。《斯堪的纳维亚》等作品彰显其融合民间音乐语汇与个人风格的功力，从豪放的《彼得老爷的马童》到诙谐的《夫妻小调》，从沉思的《夜莺》（大提琴与簧风琴）到哀婉的《为爱而逝》，圣马丁室内合奏团与诸位声乐独唱家的演绎皆臻至境。
三卷艺术歌曲由斯蒂芬·瓦尔科、德拉·琼斯与马丁·希尔各具特色地呈现。瓦尔科在民谣演绎中尤显驾轻就熟，从《柳树谣》的素朴开场到《寻回夫人》的活泼叙事，再到《挤奶女工》的动人演绎皆然。其对吉卜林《士兵啊士兵》的方言诠释堪称最杰出的反战歌曲之一。《铁心芭芭拉》与格莱格为朗费罗《海的秘密》的谱曲同样精彩。佩内洛普·特威茨的钢琴伴奏贯穿这三张CD，贡献卓著。
德拉·琼斯精准捕捉每首歌曲的情感维度，与瓦尔科合作的《夫妻小调》喜剧效果绝妙，《殖民之歌》的感伤气质亦动人心弦。马克·帕德莫尔等人演绎的《孤独沙漠旅人》典型体现了格莱格以 evocative 伴奏与 haunting 旋律绘就"心灵图景"的才能。
马丁·希尔在《吉卜林九则》中展现近乎歌剧化的戏剧张力。其演绎的《彭斯三则》民谣元素与《两只乌鸦》的 character 表现皆令人难忘。格莱格歌曲中俯拾皆是的惊喜元素，确保没有一刻冷场。
三卷钢琴独奏作品由格莱格权威诠释者佩内洛普·特威茨完美呈现。另一张CD集结五位钢琴家演绎其多钢琴作品。特威茨指出"在多钢琴版本中，通过平衡织体突出核心旋律线往往更清晰"，这点在《武士》中尤为显著。《随机轮唱》在此效果惊人，《河岸与山坡》的温柔演绎再次印证作曲家对此民谣旋律的偏爱。当轻快的《日德兰组曲》响起时，听众很难不随之打拍子。Chandos成功克服了三钢琴同步录音的技术难题。
就钢琴独奏作品而言，特威茨完全掌握了格莱格的语言。从首CD开篇的《G大调前奏曲》（作曲家早期作品）到各类"性格小品"，演奏魅力令人倾倒。所有名作的钢琴版本与诸多惊喜之作，皆以精湛演录呈现。
（源于DeepSeek翻译）
https://115cdn.com/s/sww4w6b3hq9?password=3377&#
Grainger, Percy - Edition [Chandos]
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发表于 2025-7-4 22:46
