|
|
Symphonies 1–4 (DVD version)
DG DVD 073 4512. VPO, Bernstein
Symphony in G min. (Zwickau); Symphonies 1–32; 3 (Rhenish), Op. 97; Symphony 4 (original, 1841 version and revised, 1851 version); (i) Konzertstück for 4 Horns & Orchestra in F, Op. 86. Overture, Scherzo & Finale, Op. 52 (CD version)
DG 457 591-2 (3). (i) Montgomery, Edwards, Dent, Maskell; ORR, Gardiner
Schumann’s symphonies offer searing nineteenth-century romanticism with their flowing melodies and fresh, vibrant inspiration. Apart from Bernstein’s set with the VPO, there have been several fully recommendable accounts of these works over the years, with classic versions from Sawallisch (EMI), Karajan (DG) and Solti (Decca), all very different but all very recommendable and worth considering. However, John Eliot Gardiner offers the most revelatory insights of all and includes not just the four regular symphonies but a complete survey of Schumann as symphonist. He seeks specifically to explode the myth that Schumann was a poor orchestrator, pointing out how quick he was to learn from his own mistakes. Gardiner makes an exception over the 1851 revision of the Fourth Symphony, in which Schumann thickened the woodwind writing with much doubling. Illuminatingly, both versions of that symphony are included, with the contrasts well brought out. Gardiner himself, like Brahms, prefers the slimmer, more transparent first version, suggesting that the 1851 changes made it safer and less original. Yet, paradoxically, in performance Gardiner is even more inspired in the later version, which here emerges as bitingly dramatic, working up to a thrilling coda. Like other cycles, this one offers the Overture, Scherzo and Finale of 1841 as a necessary extra; but still more fascinating is the Konzertstück of 1849 for four horns, with the ORR soloists breath-taking in their virtuosity on nineteenth-century instruments. Also included is the early, incomplete Symphony in G minor of 1832 (named after Schumann’s home town of Zwickau). Under Gardiner, the two completed movements emerge as highly original in their own right. This set is undoubtedly one of Gardiner’s finest achievements.
Bernstein’s outstanding complete DVD set of the Schumann symphonies (on a single disc) shows him at his very finest – electrifying in controlling tension, spirited and genial in bringing out Schumann’s rich lyricism, powerful in creating the music’s drama. John Rockwell of the New York Times suggested that in these later Schumann performances ‘the orchestral playing is surer and more idiomatic … warm, full and Germanic’. ‘Bernstein,’ he concludes, ‘catches the romantic secret of this music in a way that most conductors have not.’ Throughout the set he achieves glorious orchestral textures from the VPO to completely negate any suggestion that the composer’s scoring is thick and unwieldy. Indeed, he always uses the original scores, and the very First Symphony sounds wonderfully fresh and spring-like, the performance joyously light-hearted. In the Second Bernstein obviously identifies completely with the Adagio, playing it with great tenderness, and then the orchestra jubilantly explodes into the closing molto vivace. In the Third the very opening is exuberant and the brass produces remarkable sonority in the fourth movement’s opening evocation of Cologne Cathedral. Most remarkable of all is the Fourth, played with enormous zest, and in the extraordinary ‘Wagnerian’ transition, from Scherzo to finale, Bernstein out-Furtwänglers Furtwängler in bringing a feeling of actual creative growth as the brass, with unforgettable power, makes its way remorselessly to the main allegro, which then dashes off bitingly and exhilaratingly, and accelerates spontaneously into the unstoppable coda. Throughout, the Vienna Philharmonic give of their all, and watching Bernstein enjoying himself doing the same is an experience in itself. Fortunately, Humphrey Burton’s video direction is worthy of the occasion, and the audio producer, John McClure, can take similar credit for the superbly balanced sound in the Musikverein.
舒曼交响曲以奔涌的旋律与鲜活的灵感，展现了十九世纪浪漫主义的灼热情怀。除伯恩斯坦与维也纳爱乐的全集录音外，萨瓦利什（EMI）、卡拉扬（DG）和索尔蒂（Decca）的经典版本各具特色，均值得推荐。而约翰·艾略特·加迪纳的诠释最具启发性，不仅涵盖四部常规交响曲，更全面展现了舒曼作为交响乐作曲家的艺术轨迹。他特别驳斥了"舒曼配器薄弱"的成见，指出作曲家善于从失误中快速学习。对于1851年修订版《第四交响曲》中木管声部的加厚处理，加迪纳持保留态度——本辑同时收录两个版本，鲜明对比中可见初版更透明简洁的织体更受推崇。然而颇具戏剧性的是，加迪纳对修订版的演绎反而更具爆发力，终乐章惊心动魄的推进令人屏息。
与其他全集版本一样，本套收录1841年《序曲、谐谑曲与终曲》作为补充；更难得的是1849年为四把圆号创作的《音乐会小品》，古乐学会乐团演奏家们在古乐器上展现了令人窒息的技巧。1832年未完成的《茨维考交响曲》（以舒曼故乡命名）前两乐章在加迪纳棒下焕发出独特原创性。这套录音无疑是加迪纳艺术生涯的巅峰成就之一。
伯恩斯坦的舒曼交响曲全集DVD（单碟版）展现其巅峰状态：张力掌控令人颤栗，抒情段落神采飞扬，戏剧性构建充满力量。《纽约时报》乐评人约翰·洛克威尔盛赞这些晚期演绎中"乐团演奏更自信地道...具有德式厚重温暖的特质"，认为"伯恩斯坦捕捉到了多数指挥家未能触及的浪漫内核"。维也纳爱乐辉煌的声部质感彻底粉碎了所谓"舒曼配器笨重"的偏见。
《第一交响曲》如春泉般清新欢愉；《第二交响曲》柔板乐章极尽温柔，终章"极活泼"段落则爆发出狂喜；《第三交响曲》开篇意气风发，第四乐章科隆大教堂的铜管召唤震撼人心；《第四交响曲》尤为惊人，从谐谑曲到终曲的"瓦格纳式"过渡段落，伯恩斯坦甚至超越了富特文格勒——铜管声部以不可阻挡之势推向主部快板，最终在自发加速中冲向无可抑制的尾声。维也纳爱乐全情投入的演奏与伯恩斯坦忘情挥洒的镜头相得益彰，汉弗莱·伯顿的影像执导与约翰·麦克卢尔在金色大厅录制的平衡音效同样功不可没。
Symphony 2 in C, Op. 61
Orfeo mono 427041. VPO, Mitropoulos – PROKOFIEV: Symphony 5
Mitropoulos was an artist of the strongest personality and integrity. Schumann’s greatest symphony, together with Prokofiev’s Fifth, comprised his début with the Vienna Philharmonic at the 1954 Salzburg Festival. He holds the Second Symphony together but achieves great intensity in its heavenly slow movement. The ORF (Austrian Radio) balance is not ideal but, given the quality of this electrifying performance, the sound is of lesser importance.
米特罗普洛斯这位极具个性与艺术操守的大师，1954年萨尔茨堡音乐节携舒曼《第二》与普罗科菲耶夫《第五》完成维也纳爱乐首秀。他将这部舒曼最伟大的交响曲严密整合，尤其在神圣的慢乐章中营造出极致强度。奥地利广播公司的录音平衡虽非理想，但对于如此震撼的演绎，音质已属次要。
DVD：
https://115cdn.com/s/sww5ikl3hq9?password=3377&#
Schumann, Robert - The Symphonies - Leonard Bernstein, VPO [DVD9]
CD：
https://115cdn.com/s/sww5ik53hq9?password=3377&#
Schumann, Robert - Symphonies - Gerog Solti, Wiener Symphoniker [DECCA]等5个文件(夹)
第二交响曲在第697楼已经发过
|
|
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 2025-8-7 15:39