|
|
MacMILLAN, James (born 1959)
(i–iii) Veni, Veni, Emmanuel; (iv) After the Tryst; (i; v) ‘… as others see us …’; Three Dawn Rituals; Untold（i-iii）《以马内利来临曲》；（iv）《幽会后》；（i；v）《…他人眼中的我们…》；《三则黎明仪式》；《未诉之事》
RCA Catalyst 09026 61916-2. (i) Scottish CO, (ii) with Glennie; (iii) with Saraste; (iv) Crouch, Evans; (v) cond. composer
(i) Veni, Veni, Emmanuel. The tryst（i）《以马内利来临曲》《幽会》
Naxos 8.554167. (i) Colin Currie; Ulster O, Yuasa
Veni, Veni, Emmanuel, James MacMillan’s most dramatic work, based on the celebrated hymn, here comes in two excellent versions. On RCA the dedicatee, Evelyn Glennie, is the brilliant percussion soloist, dashing from one instrument to another, readily explaining why MacMillan was inspired to write the work for her. After an Introit, five contrasted sections, including a Dance and two Transitions, culminate in the full emergence of the hymn in a Dance Chorale, whereupon the soloist processes to the back of the stage while the orchestra plays jingling instruments, until at the back the soloist as a climax plays gigantic tubular bells, a brilliant effect, very well reproduced in both these versions.
Though Glennie has priority, Colin Currie, first percussion finalist in the BBC Young Musician of the Year Contest in 1994, is equally inspired, and is very well supported by the Ulster Orchestra under Takuo Yuasa.
The RCA coupling is much the more generous, with another major work included, the idiosyncratic song-cycle, ‘… as others see us … ’, a sequence of distinctive songs, each representing a historic figure, including Henry VIII, the Duke of Marlborough and poets Byron, Wordsworth and T. S. Eliot, the last an American by birth but later quintessentially English. The piece is rounded off with a song about the feminist, Dorothy Hodgkin. The other pieces, much briefer, equally demonstrate the composer’s lively imagination.
The Naxos disc has as coupling The Tryst, inspired by a poem of William Soutar, which prompted MacMillan to set the words to a simple melody which has since appeared in many of the composer’s works, most strikingly in this vigorous piece, lasting nearly half an hour. Again performances are exemplary, and the recording quality excellent on both discs.
詹姆斯·麦克米伦最富戏剧性的作品《以马内利来临曲》基于著名赞美诗创作，此处收录两个卓越版本。RCA唱片由题献对象伊芙琳·格伦妮担任炫技打击乐独奏，她在乐器间穿梭奔走的演绎，完美诠释了麦克米伦为之创作的初衷。作品以进堂咏开场，五个对比段落（包括舞曲与两个过渡段）最终在"舞蹈众赞歌"中完整呈现赞美诗主题——此时独奏者行进至舞台后方，当管弦乐团奏响叮咚乐器时，独奏者以巨型管钟将乐曲推向高潮，这一震撼效果在两个版本中均得到出色还原。
尽管格伦妮拥有首演权威，1994年BBC青年音乐家大赛首位打击乐决赛选手科林·柯里同样展现灵感迸发，并在安藤敬吾指挥下的北爱尔兰管弦乐团协奏下表现亮眼。
RCA的搭配曲目更为丰富，包含另一部重要作品——特立独行的声乐套曲《…他人眼中的我们…》。这套个性鲜明的歌曲依次刻画历史人物形象，包括亨利八世、马尔堡公爵，诗人拜伦、华兹华斯与T.S.艾略特（这位生为美国人却成为英国文化象征），终曲则以女权主义者多萝西·霍奇金压轴。其余短小作品同样彰显作曲家活跃的想象力。
拿索斯唱片则搭配《幽会》，这首受威廉·苏塔尔诗歌启发的作品孕育了麦克米伦笔下的简约旋律，该主题后来反复出现在其多部作品中，尤以这首近半小时的激昂篇章最为突出。两个版本的演绎皆堪称典范，录音品质俱佳。
The Confession of Isobel Gowdie; Symphony 3, ‘Silence’ 《伊索贝尔·高迪的忏悔》；第三交响曲《静默》
Chan. 10275. BBC PO, composer
The Confession of Isobel Gowdie was the work which in 1990 at the Proms in London first brought the Scottish composer James MacMillan to wide attention, at once establishing him as one of the most distinctive composers in Britain. His two main sources of inspiration have always been his deep religious faith as a devout Catholic and his strong left-wing sympathies, together with his pride as a Scotsman.
In The Confession of Isobel Gowdie he was inspired to write by the tragic story of a woman who in 1662 under torture was forced to confess to witchcraft, which was manifestly untrue. She was strangled and burned at the stake, which has prompted MacMillan to write this major work as a belated requiem for her. The emotional power of the writing is irresistible, as well as the colour and variety of the instrumentation, demonstrating the composer’s brilliance of invention. This performance, conducted by the composer, brings out the vividness of the writing as well as the concentration of argument.
It is well coupled with the Symphony No. 3, subtitled ‘Silence’, written in 2002 as a memorial to the Japanese writer, Shusaku Endo, who was horrified by mass violence, torture and genocide. As the subtitle implies, meditation and silence are a central quality of the writing, illustrating the composer’s dedication even outside his Catholic faith. Again the composer draws an inspired performance from the BBC Philharmonic, reinforcing the quality of the series of MacMillan’s recordings for Chandos, all vividly recorded.
1990年伦敦逍遥音乐节上，《伊索贝尔·高迪的忏悔》首演使苏格兰作曲家詹姆斯·麦克米伦广受瞩目，旋即奠定其英国最具个性作曲家的地位。其创作始终根植于三大源泉：虔诚的天主教信仰、强烈的左翼思想以及苏格兰民族自豪感。
这部作品灵感源自1662年一桩悲剧：女性伊索贝尔·高迪在酷刑逼迫下虚假供认巫术罪名，最终被绞刑焚尸。麦克米伦以此鸿篇作为迟来的安魂弥撒。作品中澎湃的情感张力与绚烂多变的配器，无不彰显作曲家惊人的创造力。由作曲家亲自指挥的演绎，既突显了乐思的鲜活色彩，又呈现出严密的逻辑结构。
搭配曲目2002年创作的第三交响曲《静默》，副题致敬日本作家远藤周作——这位对群体暴力、酷刑与种族灭绝深感震惊的作家。如题所示，冥思与静默构成全曲核心，展现了作曲家超越宗教范畴的人文关怀。BBC爱乐乐团在作曲家执棒下再献神采演绎，延续了其为Chandos厂牌录制麦克米伦系列唱片的一贯高水准，鲜活录音品质令人赞叹。
（源于DeepSeek翻译）
https://115cdn.com/s/swwk66r3hq9?password=3377&#
MacMillan, James - Symphony No. 3 & The Confession of Isobel Gowdie - BBC PO, James MacMillan [Chandos 24-96]等3个文件(夹)
|
|
楼主: joseph_li
粤公网安备 44030602000598号 耳机大家坛、www.erji.net、网站LOGO图形均为注册商标 
IP卡
狗仔卡
楼主
显身卡
发表于 2025-7-18 15:35
