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STRAVINSKY, Igor (1882–1971)
Sony had access to the immensely valuable series of recordings made by Stravinsky himself. They were all issued individually over the years, but the 22 discs now come complete in a handsome box with full documentation at a super-bargain price. How long they will remain available we cannot predict, but the box will undoubtedly be available in the marketplace or on line as a collector’s item and is certainly worth seeking out.
The Stravinsky Edition: Vols. 1–7: Ballets, etc.: (i) The Firebird; Fireworks; (iii) Histoire du soldat; (i) Petrushka; (iii–iv) Renard the Fox; (i) The Rite of Spring; (i) Scherzo à la russe; (ii) Scherzo fantastique; (v) The Wedding (Les Noces); (vi) Agon; (i) Apollo; (i) Le Baiser de la fée; (i) Bluebird (pas de deux); (vii) Jeu de cartes; (viii) Orphée; (i; ix) Pulcinella; (ii) Scènes de ballet. Ballet Suites: (i) Firebird; Petrushka; Pulcinella
Vols. 8–9: Symphonies: (i) Symphony in E flat; (ii) Symphony in C; (i) Symphony in 3 Movements; (ii; x) Symphony of Psalms; (i) Stravinsky in rehearsal: Apollo; Piano Concerto; Pulcinella; Sleeping Beauty; Symphony in C; 3 Souvenirs
Vol. 10: Concertos: (i; xi) Capriccio for Piano & Orchestra (with Robert Craft); Concerto for Piano and Wind; (i; xii) Movements for Piano & Orchestra; (i; xiii) Violin Concerto in D
Vol. 11: Miniatures: (i) Circus Polka; Concerto in D for String Orchestra; Concerto for Chamber Orchestra, ‘Dumbarton Oaks’; (ii) 4 Études for Orchestra; (i) Greeting Prelude; (ii) 8 Instrumental Miniatures; 4 Norwegian Moods; Suites 1–2 for Small Orchestra
Vols. 12–13: Chamber music and historical recordings: (iii) Concertino for 12 Instruments; (xiv–xv) Concerto for 2 Solo Pianos; (xv–xvi) Duo concertante for Violin & Piano; (xvii–xviii) Ebony Concerto (for clarinet & big band); (iii) Octet for Wind; (iii; xix) Pastorale for Violin & Wind Quartet; (xv) Piano Rag Music; (xviii) Preludium; (iii; xx) Ragtime (for 11 instruments); (xv) Serenade in A; (iii) Septet; (xii) Sonata for Piano; (xxi) Sonata for 2 Pianos; (xviii) Tango; (xxii) Wind Symphonies
Vols. 14–15: Operas and Songs: (iii; xxiii) Cat’s Cradle Songs; (xxiii–xxiv) Elegy for J. F. K.; (ii; xxv) Faun and Shepherdess; (iii; xxvi) In memoriam Dylan Thomas; (iii; xxvii) 3 Japanese Lyrics (with Robert Craft); (xxvii; xxix) The Owl and the Pussycat; (iii; xxvii) 2 Poems by K. Balmont; (i; xxx) 2 Poems of Paul Verlaine; (i; xxiii) Pribaoutki (Pleasant Songs); (i; xxiii) Recollections of my Childhood; (xxviii; xxxi) 4 Russian Songs; (xxxvii) 4 Russian Peasant Songs; (iii; xxiii) 3 Songs from William Shakespeare; (i; xxvii) Tilim-Bom (A Story for Children); (xxxii) Mavra; (xxxiii) The Nightingale
Vols. 16–17: (xxxiv) The Rake’s Progress
Vols. 18–19: Oratorio and Melodrama: (i; xxxv) The Flood (with Robert Craft); (i) Monumentum pro Gesualdo di Venosa (3 Madrigals recomposed for instruments); (vii) Ode; (xxxvi) Oedipus Rex; (i; xxxvii–xxxviii) Perséphone
Vols. 20–21: Sacred Works: (x) Anthem (The dove descending breaks the air); (x) Ave Maria; (i; x xxxix;) Babel; (iii; x; xxvi; xxviii) Cantata; (xl) Canticum sacrum; (ii; x) Credo; (iii; x) Introitus (T. S. Eliot in memoriam); (xli) Mass; (i; x) Pater noster; (i; xlii) A Sermon, a Narrative & a Prayer; (i; xliii) Threni; (i; x) Chorale; (xlvi) Epitaphium Variations on: Vom Himmel hoch, da komm ich her (arr.); Zvezdoliki
Vol. 22: Robert Craft Conducts: (i; xliv) Abraham and Isaac; (iii) Danses concertantes; (i; xlv) Double Canon: Raoul Dufy in memoriam; (i; xlvii) Requiem Canticles; (i) Song of the Nightingale (symphonic poem). (i) Orchestral Variations: Aldous Huxley in memoriam
Sony 88697 103112 (22). (i) Columbia SO; (ii) CBC SO; (iii) Columbia CO; (iv) Shirley, Driscoll, Gramm, Koves; (v) Allen, Sarfaty, Driscoll, Barber, Copland, Foss, Sessions, American Chamber Ch., Hills, Columbia Percussion Ens.; (vi) LA Festival SO; (vii) Cleveland O; (viii) Chicago SO; (ix) Jordan, Shirley, Gramm; (x) Festival Singers of Toronto, Iseler; (xi) Entremont; (xii) Rosen; (xiii) Stern; (xiv) Soulima Stravinsky; (xv) Igor Stravinsky; (xvi) Szigeti; (xvii) Goodman; (xviii) Columbia Jazz Ens.; (xix) Baker; (xx) Koves; (xxi) Gold, Fizdale; (xxii) NW German RSO; (xxiii) Berberian; (xxiv) Howland, Kreiselman, Russo; (xxv) Simmons; (xxvi) Young; (xxvii) Lear; (xxviii) Albert; (xxix) Craft; (xxx) Gramm; (xxxi) Di Tullio, Remsen, Almeida; (xxxii) Belinck, Simmons, Rideout, Kolk; (xxxiii) Driscoll, Grist, Picassi, Smith, Beattie, Gramm, Kolk, Murphy, Kaiser, Bonazzi, Washington, DC, Op. Society Ch. & O; (xxxiv) Young, Raskin, Reardon, Sarfaty, Miller, Manning, Garrard, Tracey, Tilney, Sadler’s Wells Op. Ch., Baker, RPO; (xxxv) Harvey, Cabot, Lanchester, Reardon, Oliver, Tripp, Robinson, Columbia SO Ch., Smith; (xxxvi) Westbrook (nar.), Shirtey, Verrett, Gramm, Reardon, Driscoll, Chester Watson, Washington, DC, Op. Society Ch. & O; (xxxvii) Gregg Smith Singers, Smith; (xxxviii) Zorina, Molese, Ithaca College Concert Ch., Fort Worth Texas Boys’ Ch.; (xxxix) Calicos (nar.); (xl) Robinson, Chitjian, LA Festival Ch. & SO; (xli) Baxter, Albert, Gregg Smith Singers, Columbia Symphony Winds & Brass; (xlii) Verrett, Driscoll, Hornton (nar.); (xliii) Beardslee, Krebs, Lewis, Wainner, Morgan, Oliver, Schola Cantorum, Ross; all cond. composer; (xliv) Frosch; (xlv) Baker, Igleman, Schonbach, Neikrug; (xlvi) Gleghorn, Bioch, Remsen; (xlvii) Anderson, Bonazzi, Bressler, Gramm, Ithaca College Concert Ch., Gregg Smith; cond. Craft
On these 22 super-bargain-price CDs you have the unique archive of recordings which Stravinsky left of his own music. Almost all the performances are conducted by the composer, with a few at the very end of his career – like the magnificent Requiem Canticles – left to Robert Craft to conduct with the composer supervising. In addition there is a handful of recordings of works otherwise not covered, mainly chamber pieces. With some recordings of Stravinsky talking and in rehearsal (included on the CDs devoted to the symphonies) it makes a vivid portrait.
Stravinsky may not have been a brilliant conductor, but in the recording studio he knew how to draw out alert, vigorous performances of his own music, and every one of these items illuminates facets of his inspiration which other interpreters often fail to notice. There are few if any rival versions of The Rite of Spring – nowadays, astonishingly, his most frequently recorded work – to match his own recording of 1960 in its compelling intensity and inexorable sense of line. Of the major ballets, Petrushka and The Firebird are valuable, but The Rite is required listening: it has real savagery and astonishing electricity. The link between Jeu de cartes from the mid-1930s and Stravinsky’s post-war opera, The Rake’s Progress, is striking; Stravinsky’s sharp-edged conducting style underlines it, while the curiously anonymous-sounding Scènes de ballet certainly have their attractive movements. Orpheus has a powerful atmosphere, though one of Stravinsky’s most classically restrained works, a good performance, with the composer’s own authority lending it special interest. However, its invention is less memorable and distinguished than Apollo, one of Stravinsky’s most gravely beautiful works. Agon is one of the most stimulating of Stravinsky’s later works. The orchestra responds with tremendous alertness and enthusiasm to Stravinsky’s direction. The recording of Le Baiser de la fée is a typical CBS balance with forward woodwind. However, if the recorded quality does not inspire too much enthusiasm, the performance certainly does. Stravinsky’s recording of Pulcinella includes the vocal numbers which, when sung well, add to the variety and sparkle of the piece, while in the orchestra the clowning act of the trombone and the humour generally is strikingly vivid and never too broad. Similarly with the chamber scoring of the suite from The Soldier’s Tale, the crisp, clear reading brings out the underlying emotion of the music with the nagging, insistent little themes given an intensity that is almost tear-laden. There is a ruthlessness in the composer’s own reading of Les Noces which exactly matches the primitive robustness in this last flowering of Russian nationalism in Stravinsky. The earlier parts are perhaps too rigid, but as the performance goes on one senses the added alertness and enthusiasm of the performers. Renard is a curious work, a sophisticated fable which here receives too unrelenting a performance. The voices are very forward and tend to drown out the instrumentalists.
In the early Symphony in E flat, the young Stravinsky’s material may be comparatively conventional and the treatment much too bound to the academic procedures taught him by his master, Rimsky-Korsakov, but at least in this performance the music springs to life. Each movement has its special delights to outweigh any shortcomings. The performance is obviously as near definitive as it could be. The composer’s account of the Symphony in Three Movements is an object lesson for every conductor who has tried to perform this work. Stravinsky shows how, by vigorous, forthright treatment of the notes, the emotion implicit is made all the more compelling. The Columbia Symphony plays superbly and the recording is full and brilliant. Stravinsky’s career never quite equalled the intensity of the pre-war 78-r.p.m. performance of the Symphony of Psalms. That had many more technical faults than this later, stereo version, and it is only fair to say that this new account is still impressive. It is just that with so vivid a work, it is a shade disappointing to find Stravinsky as an interpreter at less than maximum voltage. Even so, this closing section of the work is very beautiful and compelling. The CD transfers of the American recording are somewhat monochrome by modern standards, but fully acceptable.
The iron-fingered touch of Philippe Entremont has something to be said for it in the Capriccio for Piano and Wind, but this performance conveys too little of the music’s charm. The Movements for Piano and Orchestra with the composer conducting could hardly be more compelling. Stern’s account of the Violin Concerto in D adds a romantic perspective to the framework, and at one time, no doubt, Stravinsky would have objected. But an expressive approach to Stravinsky is permissible in a soloist, when the composer is there to provide the bedrock under the expressive cantilena. Plainly this has the forthright spontaneity of a live performance.
The Dumbarton Oaks Concerto, with its obvious echoes of Bach’s Brandenburgs, is one of the most warmly attractive of Stravinsky’s neoclassical works, all beautifully played and acceptably recorded. The Octet for Wind of 1924 comes out with surprising freshness and, throughout, the unexpected combination of neo-Bach and neo-Pop is most refreshing. Ragtime could be more light-hearted, but Stravinsky gives the impression of knowing what he wants. The Ebony Concerto, in this version conducted by the composer, may have little of ‘swung’ rhythm, but it is completely faithful to Stravinsky’s deadpan approach to jazz.
In Le Rossignol the singing is not always on a par with the conducting, but it is always perfectly adequate and the recording is brilliant and immediate. Mavra is sung in Russian and, as usual, the soloists – who are good – are too closely balanced, but the performance has punch and authority, and on the whole the CD quality is fully acceptable. The songs represent a fascinating collection of trifles, chips from the master’s workbench dating from the earliest years. There are many incidental delights, not least those in which the magnetic Cathy Berberian is featured.
The Rake’s Progress is one of the highlights of the set and has never since been surpassed. Alexander Young’s assumption of the title-role is a marvellous achievement, sweet-toned, accurate and well characterized. In the choice of other principals, too, it is noticeable what store Stravinsky set by vocal precision. Judith Raskin makes an appealing Anne Truelove, sweetly sung if not particularly well projected dramatically. John Reardon too is remarkable more for vocal accuracy than for striking characterization, but Regina Sarfaty’s Baba is marvellous on both counts. The Sadler’s Wells Chorus sings with even greater drive under the composer than in the theatre, and the Royal Philharmonic play with warmth and a fittingly Mozartian sense of style to match Stravinsky’s surprisingly lyrical approach to his score. The CDs offer excellent sound.
The Cantata of 1952 is a transitional piece between Stravinsky’s tonal and serial periods. However, of the two soloists, Alexander Young is much more impressive than Adrienne Albert, for her voice is entirely unsuitable, with an unformed choirboy sound somehow married to a wide vibrato. For the sake of Stravinsky, one endures her. The Canticum sacrum includes music that some listeners might find tough (the strictly serial choral section). But the performance is a fine one and the tenor solo from Richard Robinson is very moving. The Bach Chorale Variations has a synthetic modernity and recalls the espresso bar, though one which still reveals underlying mastery. The Epitaphium and the Double Canon are miniatures, dating from the composer’s serial period, but the Canon is deliberately euphonious.
The Mass is a work of the greatest concentration, a quality that comes out strongly if one plays this performance immediately after The Flood, with its inevitably slack passages. As directed in the score, trebles are used here, and it is a pity that the engineers have not brought them further forward: their sweet, clear tone is sometimes lost among the lower strands. In The Flood, originally written for television, it is difficult to take the bald narration seriously, particularly when Laurence Harvey sanctimoniously keeps talking of the will of ‘Gud’. The performance of Oedipus Rex, too, is not one of the highlights of this set. Perséphone, however, is full of that cool lyricism that marks much of Stravinsky’s music inspired by classical myths. As with many of these vocal recordings, the balance is too close, and various orchestral solos are highlighted.
Of the items recorded by Robert Craft, the Requiem Canticles stands out, the one incontrovertible masterpiece among the composer’s very last serial works and one of the most deeply moving works ever written in the serial idiom. Even more strikingly than in the Mass of 1948, Stravinsky conveys his religious feelings with a searing intensity. The Aldous Huxley Variations are more difficult to comprehend but have similar intensity. Valuable, too, is the ballad, Abraham and Isaac.
索尼公司获得了斯特拉文斯基亲自录制的珍贵录音系列。这些录音过去曾单独发行，如今22张CD以超值套装形式呈现，附完整资料册。虽然不确定这套合集将销售多久，但它无疑会成为收藏家争相寻觅的珍品。
在这22张超值CD中，收录了斯特拉文斯基亲自诠释自己作品的珍贵录音档案。绝大多数作品由作曲家本人指挥，仅有晚年少数作品（如宏伟的《安魂颂歌》）由罗伯特·克拉夫特执棒，斯特拉文斯基担任监制。此外还补充了一些未涵盖的室内乐作品录音。部分CD还收录了斯特拉文斯基的谈话和排练片段（如交响曲专辑），生动呈现了作曲家的艺术人格。
斯特拉文斯基或许并非顶尖指挥家，但在录音室里，他总能激发出自己作品中最敏锐、最具活力的演绎。这些录音揭示了许多其他诠释者忽略的灵感细节。例如1960年他指挥的《春之祭》——如今惊人地成为他被录制最频繁的作品——其震撼的张力与严密的线条处理至今无出其右。三大芭蕾中，《彼得鲁什卡》与《火鸟》颇具价值，但《春之祭》堪称必听之作：原始野性与惊人能量喷薄而出。1930年代的《扑克游戏》与战后歌剧《浪子历程》的关联在此尤为醒目；斯特拉文斯基锋利的指挥风格强化了这种联系，而《芭蕾场景》中那些匿名般的乐段也展现出独特魅力。《俄耳甫斯》虽属作曲家最古典克制的作品之一，但在他亲自指挥下仍散发出强大气场，不过其创意性稍逊于斯特拉文斯基最庄严优美的作品《阿波罗》。《阿贡》则是作曲家晚期最富激情的创作，乐团在他的棒下展现出惊人的敏锐度。
《仙女之吻》的录音是典型的CBS平衡风格，木管声部突出。虽然录音质量不算惊艳，但演绎本身充满活力。《普尔钦奈拉》全剧录音包含声乐段落，优秀演唱为作品增添光彩；乐队中长号的滑稽表演与整体幽默感生动而不流于浮夸。《士兵的故事》组曲的室内乐编制在作曲家 crisp（干净利落）的诠释下，那些萦绕不去的固执主题被赋予近乎催人泪下的强度。《婚礼》的原始粗犷感——斯特拉文斯基俄罗斯民族主义风格的最后绽放——在作曲家本人严苛的指挥中完美呈现，虽然前段略显僵硬，但后续演绎渐入佳境。《狐狸》这部精致寓言作品在此版中处理得过于冷酷，人声过近时常压倒器乐声部。
早期《降E大调交响曲》虽受限于里姆斯基-科萨科夫传授的传统技法，但作曲家亲自指挥仍赋予了音乐生命力，每个乐章都瑕不掩瑜。《三乐章交响曲》的录音堪称指挥家教科书：斯特拉文斯基证明，通过对音符的强劲直率处理，内在情感反而更具冲击力。哥伦比亚交响乐团表现卓越，录音饱满辉煌。尽管战前78转黑胶版的《诗篇交响曲》有着更强烈的演绎，但此版立体声录音技术更完善，终乐章依然壮美动人。美国早期录音的CD转制虽以现代标准略显单薄，但完全可接受。
菲利普·昂特蒙在《钢琴与管乐协奏曲》中展现的钢铁触键虽具特色，却损失了音乐应有的魅力。相反，作曲家亲自指挥的《钢琴与乐队乐章》则充满震撼力。斯特恩在《D大调小提琴协奏曲》中融入的浪漫视角，或许会引发斯特拉文斯基本人的异议，但当作曲家本人为表达性旋律提供坚实基底时，独奏家的个性化处理反而被允许。这个录音显然保留了现场演出的即兴火花。
《敦巴顿橡树园协奏曲》明显呼应巴赫的《勃兰登堡协奏曲》，是斯特拉文斯基新古典主义作品中最富魅力的篇章之一，演奏精妙且录音达标。1924年创作的《木管八重奏》焕发出惊人的清新感，新巴赫风格与新流行元素的意外结合令人耳目一新。《雷格泰姆》本可更轻快些，但斯特拉文斯基的掌控力毋庸置疑。作曲家亲自指挥的《乌木协奏曲》虽缺少"摇摆"节奏，却完美体现了他对爵士乐不动声色的解构。
《夜莺》中人声表现虽未及指挥水准，但整体仍属上乘，录音鲜活生动。《玛芙拉》采用俄语演唱，独唱者（虽优秀）的声部平衡过于贴近，但演绎充满力度与权威，CD音质总体可接受。歌曲集收录了大师创作初期迷人的小品，如同工作台散落的碎屑，其中凯西·贝伯里安磁性的演唱尤为夺目。
《浪子历程》堪称全集巅峰，至今未被超越。亚历山大·杨塑造的男主角音色甜美精准，性格鲜明；其他主演也体现出斯特拉文斯基对声乐精确度的严苛要求。朱迪斯·拉斯金饰演的安妮·特鲁洛夫唱段甜美但戏剧张力稍逊，约翰·里尔登以音准见长而非角色塑造，而雷吉娜·萨尔法蒂的巴巴则两者兼备。萨德勒威尔斯合唱团在作曲家棒下比剧场演出更具爆发力，皇家爱乐乐团以莫扎特式的典雅风格呼应着斯特拉文斯基对总谱出人意料的抒情处理。CD音效卓越。
1952年《康塔塔》是作曲家调性时期与序列时期过渡之作，亚历山大·杨的表现远胜嗓音条件欠佳的阿德里安娜·阿尔伯特（其未成熟的童声与宽幅颤音极不协调）。《神圣颂歌》中严格的序列合唱段落可能令部分听众却步，但理查德·罗宾逊的男高音独唱催人泪下。《巴赫众赞歌变奏曲》带有合成器般的现代感，令人联想到意式咖啡吧，仍透露出大师底蕴。《墓志铭》与《双重卡农》是序列时期的微型杰作，后者刻意追求谐和音响。
《弥撒》堪称浓缩的精华，与《洪水》不可避免的松散段落形成强烈对比。按总谱要求使用的童声高音部被录音师过分弱化，其清甜音色常湮没于低声部。《洪水》中劳伦斯·哈维故作虔诚地念叨"Gud的意志"的旁白令人出戏。《俄狄浦斯王》也非全集亮点。而《珀尔塞福涅》则充满斯特拉文斯基古典神话题材特有的冷冽抒情，可惜人声与管乐独奏的平衡失当。
罗伯特·克拉夫特录制的《安魂颂歌》尤为突出，这是作曲家晚期序列作品中无可争议的杰作，也是序列主义音乐史上最动人的篇章之一。相比1948年《弥撒》，斯特拉文斯基以更灼热的强度传递宗教情感。《赫胥黎变奏曲》更难解但具有同等强度，叙事曲《亚伯拉罕与以撒》同样珍贵。
https://115cdn.com/s/swwvim53hq9?password=3377&#
Stravinsky, Igor - The Recorded Legacy [Sony]等2个文件(夹)
两个出版时间不同，内容一致。
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发表于 2025-8-12 13:41
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