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As You Like It; Hamlet 《皆大欢喜》；《哈姆雷特》
Chan. 10436X. Gielgud, Bott, ASMF, Marriner
Thanks to the diligence of Christopher Palmer, Walton’s score for Hamlet offers some 40 minutes of music, a rich and colourful suite, superbly played and recorded, and much enhanced by the contribution of Sir John Gielgud in two of Shakespeare’s soliloquies, ‘O that this too, too solid flesh’ and ‘To be or not to be’. The selection of music from the pre-war film of As You Like It makes a valuable fill-up. It adds the splendid setting of Under the greenwood tree in a radiant performance by Catherine Bott. Marriner and the Academy draw out all the romantic warmth of both scores, and the sound is richly atmospheric to match.
得益于克里斯托弗·帕尔默的精心整理，沃尔顿为《哈姆雷特》创作的配乐形成约40分钟的丰富组曲。约翰·吉尔古德爵士演绎的"脆弱啊，你的名字是女人"与"生存还是毁灭"两段独白更添光彩。战前电影《皆大欢喜》选曲作为补遗极具价值，凯瑟琳·博特演唱的《绿荫树下》尤为动人。马里纳与圣马丁乐团完美呈现两部配乐的浪漫温情，录音氛围感十足。
The Battle of Britain: Suite. Escape Me Never: Suite. The First of the Few: Spitfire Prelude and Fugue. Three Sisters; A Wartime Sketchbook 《不列颠之战》组曲；《永别吾爱》组曲；《最初的少数》：喷火战机前奏与赋格；《三姐妹》；战时素描集
Chan. 8870. ASMF, Marriner
The Spitfire Prelude and Fugue, from The First of the Few, was immediately turned into a highly successful concert-piece: from its imposing fanfare opening to the thrilling fugue, it is rightly one of the composer’s most popular pieces. But we owe it to Christopher Palmer that there is the ‘Wartime Sketchbook’, drawing on material from three of the wartime films, plus scraps from the much later Battle of Britain film music, and not least the theme from the credits of the film Went the Day Well, which opens the Suite. It is undoubtedly one of the most stirring pieces ever written; by that we mean by any composer – not just Walton. The following Bicycle-chase is as exhilarating as the Scherzo (Gay Berlin) is vivaciously enjoyable. The brief suite from the music for Olivier’s film of Chekhov’s The Three Sisters, from much later, brings more than one setting of the Tsar’s Hymn and a charming imitation of Swan Lake. Earliest on the disc is Escape Me Never, the first of Walton’s film scores, written in 1935 in a more popular idiom; but the war-inspired music is what this delightful disc is really about. Marriner and the Academy give richly idiomatic performances, full of panache. Aptly opulent recording.
《喷火战机前奏与赋格》从庄严号角开场到激动人心的赋格，已成为沃尔顿最受欢迎的作品之一。帕尔默汇编的"战时素描集"汇集三部战时电影音乐素材，包括《不列颠之战》未竟配乐片段，以及电影《昨日安然》开场主题——这无疑是音乐史上最振奋人心的创作之一。随后的《自行车追逐》与谐谑曲《欢乐柏林》同样精彩。为奥利弗电影《三姐妹》所作的简短组曲包含多段沙皇颂歌变奏及对《天鹅湖》的巧妙模仿。本碟最早作品是1935年通俗风格的《永别吾爱》，但战争主题才是核心。马里纳与乐团的演绎充满神韵，录音华丽考究。
Henry V: A Shakespeare Scenario (arr. Palmer) 《亨利五世》：莎士比亚情景剧（帕尔默改编）
Chan. 10437X. Plummer (nar.), Westminster Cathedral Ch., ASMF, Marriner
Few film scores can match Walton’s for the Olivier film of Henry V in its range and imagination. From the opening bars, the drama is vividly evoked, with Walton’s rich musical imagination delivered with maximum impact. The set-piece numbers such as Agincourt are as spectacular as the Interlude: At the French Court is charming. The ‘Scenario’ recorded here, devised by Christopher Palmer, lasts just over an hour and, as a concert performance of a film score, it cannot be faulted. The most controversial change is to ‘borrow’ the first section of the march that Walton wrote much later for a projected television series on Churchill’s History of the English-speaking Peoples; otherwise the Chorus’s call to arms, Now all the youth of England is on fire, would have had no music to introduce it. As an appendix, three short pieces are included which Walton quoted in his score. Sir Neville Marriner caps even his previous recordings in this series, with the Academy and Westminster Choir producing heart-felt playing and singing in sumptuous sound. Christopher Plummer makes an excellent substitute for Olivier, unselfconsciously adopting a comparably grand style.
沃尔顿为奥利弗版《亨利五世》创作的配乐在广度与想象力上罕有匹敌。从开场小节就生动展现戏剧张力，阿金库尔战役等场景音乐气势恢宏，法国宫廷间奏曲则优雅迷人。帕尔默改编的"情景剧"时长超一小时，作为电影配乐音乐会版无可挑剔。最具争议的改动是借用了沃尔顿晚年为丘吉尔《英语民族史》电视剧所写进行曲片段，否则开场合唱《英格兰青年热血沸腾》将缺乏引子。附录包含三部被引用的古乐片段。马里纳此次演绎超越以往，威斯敏斯特合唱团的演唱感人至深，克里斯托弗·普卢默的朗诵媲美奥利弗，整体录音极尽华美。
Macbeth: Fanfare & March; Major Barbara (suite); Richard III (Shakespeare scenario) 《麦克白》：号角与进行曲；《芭芭拉少校》组曲；《理查三世》（莎士比亚情景剧）
Chan. 10435X. Gielgud (nar.), ASMF, Marriner
Walton’s music to Richard III is hardly less impressive than that of his masterpiece, Henry V. From the vibrant fanfares which open the score, via the imposing music for the Coronation scene, to the dramatic Death of Richard, there is much to relish in this colourful and atmospheric score. If Sir John Gielgud tends to underplay his part with his great ‘Now is the winter of our discontent’ speech, working to the underlying music – much of it eliminated in the film – may have cramped his style. But the performance has all the panache one could ask for, leading up to the return of the grand Henry Tudor theme at the end. The six-minute piece based on Walton’s music for Gielgud’s wartime production of Macbeth is much rarer and very valuable too, anticipating in its Elizabethan dance-music the Henry V film score (along with yet another impressive fanfare). Major Barbara also brings vintage Walton material. Marriner and the Academy give performances just as ripely committed as in their other recordings in the series, helped by sonorous Chandos sound.
沃尔顿为《理查三世》创作的配乐几乎不逊于其代表作《亨利五世》。从开篇激昂的号角曲、加冕场景的庄严音乐，到理查王之死的戏剧性段落，这部色彩斑斓且极具氛围感的配乐令人回味无穷。尽管约翰·吉尔古德爵士在演绎"现在我们严冬般的宿怨"这段著名独白时略显克制（可能受电影删减配乐影响），但整体演绎仍充满磅礴气势，最终以亨利·都铎主题的辉煌再现收尾。基于沃尔顿为吉尔古德战时版《麦克白》创作的六分钟乐曲更为珍稀，其伊丽莎白风格的舞曲已预示《亨利五世》配乐的风采（另有令人印象深刻的号角段落）。《芭芭拉少校》同样展现沃尔顿巅峰时期的创作。马里纳与圣马丁乐团的演绎饱满而富有张力，Chandos唱片浑厚的音质更添光彩。
Troilus and Cressida (complete, CD version) 《特洛伊罗斯与克瑞西达》
Chan. 9370/1 (2). A. Davies, Howarth, Howard, Robson, Opie, Bayley, Thornton, Owen-Lewis, Opera N. Ch., E. N. Philh., Hickox
Few operas since Puccini have such a rich store of memorable tunes as Troilus and Cressida. As Chandos’s magnificent recording shows, based on Opera North’s 1995 production – using Walton’s tautened score of 1976 but with the original soprano register restored for Cressida – this red-bloodedly romantic opera on a big classical subject deserves to enter the regular repertoire. Judith Howarth portrays the heroine as girlishly vulnerable, rising superbly in the big challenges of the love duets and final death scene. Arthur Davies is an aptly Italianate Troilus, an ardent lover, and there is not a weak link in the cast, with Nigel Robson a finely pointed Pandarus, comic but not camp, avoiding any echoes of Peter Pears, the originator. As Evande, Cressida’s maid, Yvonne Howard produces firm, rich mezzo tone, and the role of Calkas, Cressida’s father, is magnificently sung by Clive Bayley. The role of Diomede, Cressida’s Greek suitor, can seem one-dimensional, but Alan Opie, in one of his finest performances on record, sharpens the focus, making him a genuine threat, a noble enemy. Richard Hickox draws magnetic performances from chorus and orchestra alike, bringing out many parallels with the early Walton of Belshazzar’s Feast and the First Symphony. As for the recorded sound, the bloom of the Leeds Town Hall acoustics allows the fullest detail from the orchestra, enhancing the Mediterranean warmth of the score, helped by a wide dynamic range. The many atmospheric effects, often off stage, are clearly and precisely focused, and the placing of the voices on the stereo stage is also unusually precise.
普契尼之后罕有歌剧能像《特洛伊罗斯与克瑞西达》这样拥有如此丰富的动人旋律。Chandos这套基于北方歌剧院1995年制作的宏伟录音（采用沃尔顿1976年精简版总谱，但恢复克瑞西达原女高音声部），证明这部以古典题材创作的热血浪漫歌剧理应成为常演剧目。朱迪斯·霍华德将女主角塑造得少女般脆弱，又在爱情二重唱和最终死亡场景中迸发惊人表现力。亚瑟·戴维斯演绎的意大利风格特洛伊罗斯堪称完美情人，奈杰尔·罗布森饰演的潘达洛斯滑稽却不浮夸，成功规避了首演者彼得·皮尔斯的影子。伊万德（克瑞西达侍女）由伊冯娜·霍华德以坚实丰润的女中音诠释，克莱夫·贝利则将克瑞西达之父卡尔卡斯演绎得气势恢宏。迪奥墨德斯（希腊求婚者）本易流于平面化，但艾伦·奥佩通过其录音生涯最佳表现之一，将其塑造成真正具有威胁性的高贵对手。理查德·希考克斯对合唱团与乐团的调动充满魔力，处处可见早期沃尔顿在《伯沙撒王的宴会》与《第一交响曲》中的创作痕迹。利兹市政厅的声学环境让管弦乐细节纤毫毕现，宽广的动态范围更凸显乐谱的地中海式热情。众多舞台外的氛围音效定位精准，人声在立体声场中的分布也异常清晰。
https://115cdn.com/s/swwrzjt3hq9?password=3377&#
Walton, William - Film Music Vol.1-4 - Neville Marriner, ASMF [Chandos]等2个文件(夹)
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发表于 2025-8-18 07:37
