Nikolaus.Harnoncourt -《贝多芬九大交响曲》(Beethoven.-.9.Symphonies)[5 CD][APE]

专辑英文名: Beethoven.-.9.Symphonies
专辑中文名: 贝多芬九大交响曲
艺术家: Nikolaus.Harnoncourt
古典类型: 交响曲
资源格式: APE
版本: [5 CD]
发行时间: 1991年10月11日
地区: 美国
语言: 英语
简介: 
专辑介绍:
BEETHOVEN : SYMPHONIES NOS 1-9 (5CD)
英国留声机大奖：贝多芬九大交响曲 (5CD)
NIKOLAUS HARNONCOURT & CHAMBER ORCHESTRA OF EUROPE 哈农库特（指挥）欧洲室内乐团
★ 企鹅三星,留声机杂誌唱片大奖
★ 贝多芬的九首交响曲，可以说是交响曲史上，让交响曲登於艺术品地位！
★ 这套录音是一向以古乐指挥闻名的哈农库特，踏入贝多芬乐曲的第一套代表作，荣获1992年英国留声机大奖录音专辑！
贝多芬的九首交响曲，可以说是交响曲史上，让交响曲登於艺术品地位，而不仅仅只是供贵族享乐聆听用的关键作品。其主要的差别在於，贝多芬在其中放入大量的个人想法主导乐曲走向，而不是以写作舒适悦耳的音乐为依归。当我们知道贝多芬小莫札特十四岁，小海顿三十八岁，而在他写作第一号交响曲时，他才只有二十岁，可是却能够在这首作品上表现出那么极端与前两位维也纳大师的区别时，就很难不问，究竟眼前这位作曲家，是一位纯然叛逆的后辈，还是一位独有创见的天才。音乐学者阿诺．谢林曾经把贝多芬的第四号交响曲称为「席勒之流」，意思是宛若席勒的诗一般恢宏、豪气，席勒是贝多芬最喜欢的诗人之一，如果听到这样的比喻，一定也深感自豪，因为他的第九号交响曲终乐章的快乐颂就是以席勒的诗作谱成的。这套录音是一向以古乐指挥闻名的哈农库特，踏入贝多芬乐曲的第一套代表作，在发行当时就引起举世乐坛的讨论，他将古乐的概念和考据方式放入传统乐团的演出中，在两者之间取得平衡，发行隔年立刻赢得留声机大奖，如今终於低价再版，值得珍藏。
产品编号: 0927497682
产品条码: 0809274976826
发行日期: 2008-11-07
引用Release Date October 11, 1991
Duration 05:57:45
Genre Classical
Styles Symphony
Beethoven Complete Symphonies
Show View record and artist details
Author:
Stephen Johnson
BEETHOVEN Complete Symphonies – Harnoncourt
Stravinsky called Beethoven's Grosse Fuge ''that absolutely contemporary work that will be contemporary for ever''. Looking over what has happened in Beethoven performance in the concert-hall and on record over the last two or three years I've had the growing feeling that the same is true of the symphonies. Just when everybody seemed to be saying that the mighty nine had been worked to death, along came Christopher Hogwood, Frans Bruggen and that provocateur par excellence Roger Norrington to shake us out of our complacency. Then, last month, came confirmation in Gunter Wand's Eroica that the traditional-classical approach can still be roundly satisfying.
And now this—a new Beethoven cycle which manages to combine the shock of the new with an uncanny sense of familiarity. Harnoncourt doesn't pretend that what he offers is Beethoven as the composer imagined it. With the exception of the trumpets, the instruments are all modern, and while phrasing, rhythmic articulation, expression and balance reveal Harnoncourt's rigorous and passionate pursuit of historical truth, the results neither sound nor feel like anything offered under that banner before. Right from the start—the slow introduction to the First Symphony—the feeling that emerges through the finely differentiated phrasing is surprising in its intensity.
So why 'familiarity'? Because listening to this set I was reminded over and over again how exciting it was to discover Beethoven's symphonies for the first time—I'm not exaggerating. One could argue for pages about Harnoncourt's theories on musical rhetoric in Beethoven's time, on musical genres as ''dramas or novels'' or ''the links between body movement and music''; what is beyond dispute is the vision that motivates Harnoncourt's music-making. The driving force behind many of the allegros is comparable with Toscanini, but unlike the familar NBC Toscanini cycle, or for that matter Roger Norrington, he can be flexible: rubatos, even allargandos, aren't uncommon, and important changes of key or character can bring minute tempo changes of their own—the kind of subtle inflexion Czerny observed in Beethoven's playing.
The most striking contrast with period instrument recordings, however, is in the slow movements. Harnoncourt's tempos can be pretty mobile, his phrasing sharply featured, but the emotional generosity, the telling contrasts of mood and colour suggest older models. Even Gunter Wand (RCA), excellent as he is, doesn't equal the expressive range and penetration of Harnoncourt's Eroica Funeral March, and only Carlos Kleiber (DG) amongst recent-ish versions matches the superb drama of light and scale in the Andante con moto of No. 5. And what happens on the large scale is often mirrored in miniature. In the Adagio of No. 4 the dotted figure in the first bar keeps its tension not only through the long diminuendo but even while the violin line sings warmly above—two very different voices, each to play a major part in the drama that follows. I admit there are places where I missed the sharp definition that period instruments can bring to Beethoven's textures, but given the resources he is working with Harnoncourt's achievements can be near-miraculous. Here, and in many other passages, I was repeatedly impressed by the way the COE not only take on board Harnoncourt's ideas but give expression to them so naturally. There's nothing studied: the Pastoral breathes freely—even in the ''Szene am Bach'' the sharply 'classical' pointing sounds entirely natural—while each movement of the Seventh dances, athletically, gracefully, titanically, but always with a combined sense of freedom and tight control.
A warning voice suggests that I ought to tone down the encomium a little. All right, I do have a few quibbles: I can do without both scherzo repeats after the trio as in Nos. 1 and 2, and his continuing the finale of No. 5 at virtually the same pulse as the scherzo seems to go against the implications of the metronome markings—though it's good to see Harnoncourt too observing the scherzo-trio repeat, and once the finale has established itself it's as thrilling as anything else in the set. I have to say that the performance of No. 9 doesn't seem to me quite as consistent as the others: tension in the first movement and the Adagio does flag a little in places. The finale makes up for it though—every long crescendo is like a gradual ascent skywards, and the sections flow into one another beautifully. Even with reservations, this is an exceptional Ninth.
Casting around for a parallel, I have to say that the only recorded cycle I have heard recently in which the musical insight is as consistent and the emotional charge so consistently high is the 1939 Toscanini, currently available on Nuova Era ((CD) 2243/48) but the sound here is far preferable. When this set has had the circulation it deserves, perhaps we'll see an end to that weary lament for the days when conductors were gods, and you could go to a concert and have tea at Lyons Corner House and still have change from a threepenny bit. For those who don't view everything present through black-tinted spectacles this must be one of the most exciting, challenging Beethoven releases to appear in many years.'
专辑曲目: 
Disc: 1
1. Symphony No. 1 In C Major, Op. 21: Adagio molto - Allegro con brio
2. Symphony No. 1 In C Major, Op. 21: Andante cantabile con moto
3. Symphony No. 1 In C Major, Op. 21: Menuetto: Allegro molto e vivace
4. Symphony No. 1 In C Major, Op. 21: Finale: Adagio - Allegro molto e vivace
5. Symphony No. 3 In E Flat Major, Op. 55: Allegro con brio
6. Symphony No. 3 In E Flat Major, Op. 55: Marcia funebre: Adagio assai
7. Symphony No. 3 In E Flat Major, Op. 55: Scherzo: Allegro vivace
8. Symphony No. 3 In E Flat Major, Op. 55: Finale: Allegro molto
Disc: 2
1. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro ma non troppo - Awakening Of Joyful Feelings On Arrival In The Country
2. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Andante molto moto - Scene At The Brook
3. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Merrymaking Of The Country Folk
4. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegro - Thunderstorm
5. Symphony No. 6 In F Major, Op. 68 'Sinfonia pastorale': Allegretto - Pastoral Song. Feelings Of Happiness And Gratitude After The Storm
6. Symphony No. 8 In F Major, Op. 93: Allegro vivae e con brio
7. Symphony No. 8 In F Major, Op. 93: Allegretto scherzando
8. Symphony No. 8 In F Major, Op. 93: Tempo di Minuetto
9. Symphony No. 8 In F Major, Op. 93: Allegro vivace
Disc: 3
1. Symphony No. 2 In D Major, Op. 36: Adagio molto - Allegro con brio
2. Symphony No. 2 In D Major, Op. 36: Larghetto
3. Symphony No. 2 In D Major, Op. 36: Scherzo: Allegro
4. Symphony No. 2 In D Major, Op. 36: Allegro molto
5. Symphony No. 5 In C Minor, Op. 67: Allegro con brio
6. Symphony No. 5 In C Minor, Op. 67: Andante con moto
7. Symphony No. 5 In C Minor, Op. 67: Allegro
8. Symphony No. 5 In C Minor, Op. 67: Allegro
Disc: 4
1. Symphony No. 4 In B Flat Major, Op. 60: Adagio - Allegro vivace
2. Symphony No. 4 In B Flat Major, Op. 60: Adagio
3. Symphony No. 4 In B Flat Major, Op. 60: Allegro vivace
4. Symphony No. 4 In B Flat Major, Op. 60: Allegro ma non troppo
5. Symphony No. 7 In A Major, Op. 92: Poco sostenuto - Vivace
6. Symphony No. 7 In A Major, Op. 92: Allegretto
7. Symphony No. 7 In A Major, Op. 92: Presto
8. Symphony No. 7 In A Major, Op. 92: Allegro con brio
Disc: 5
1. Symphony No. 9 In D Minor, Op. 125: Allegro ma non troppo, un poco maestoso
2. Symphony No. 9 In D Minor, Op. 125: Molto vivace
3. Symphony No. 9 In D Minor, Op. 125: Adagio molto e cantabile
4. Symphony No. 9 In D Minor, Op. 125: 1. Presto - Allegro assai - 2. Presto - Rezitativo - 3. Allegro assai vivace alla marcia - 4. Allegro ma non tanto
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