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  • 德沃夏克：歌剧序曲和前奏曲
    DVORAK: Opera Overtures and Preludes
    专辑号：8.223272
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• • 德沃夏克：歌剧序曲和前奏曲/DVORAK: Opera Overtures and Preludes
  • [ 介绍 ]
  • Antonín Dvorák (1841-1904) Opera Overtures and Preludes King and Charcoal Burner (Overture) The Jacobin, Op. 84 Prelude to Act I Prelude to Act II Ballet Music from Act III Kate and the Devil, Op. 112 Overture Prelude to Act II Hell Dance from Act II Prelude to Act III Rusalka, Opus 114 Overture Polonaise Dimitrij, Opus 64 Overture Armida, Opus 115 Overture Antonín Dvorák was born in 1841, the son of a butcher andinnkeeper in the village of Nelahozeves, near Kralupy, in Bohemia, some fortymiles north of Prague. It was natural that he should follow the example of hisfather and grandfather by learning the family trade, and to this end he leftschool at the age of eleven. There is no reliable record of his competence inbutchery, but his musical abilities were early apparent, and in 1853 he wassent to lodge with an uncle in Zlonice, where he continued an apprenticeshipstarted at home, learning German and improving his knowledge of music,rudimentary skill in which he had already acquired at home and in the villageband and church. Further study of German and of music at Kamenice, a town innorthern Bohemia, led to his admission, in 1857, to the Prague Organ School,from which he graduated two years later. In the years that followed, Dvorák earned his living as aviola-player in a band under the direction of Karel Komzak which was to formthe nucleus of the Provisional Theatre Orchestra, established in 1862. Fouryears later Smetana was appointed conductor of the opera-house, where his Czechoperas The Brandenburgers in Bohemia and The Bartered Bride were performed. Itwas not until 1871 that Dvorák resigned from the theatre orchestra, to devotemore time to composition, as his music began to draw some favourable localattention. Two years later he married and early in 1874 became organist of the church of St. Adalbert. During this period he continued to support himself by privateteaching, while busy on a series of compositions that gradually became known toa wider circle. Further recognition came in 1875 with the award of aMinistry of Education stipendium by a committee in Vienna that included thecritic Eduard Hanslick and Brahms. The following year Dvorák failed to win theaward, but was successful in 1877. His fourth application brought the personalinterest of Hanslick and Brahms and a connection with Simrock, the latter’spublisher, who expressed a wish to publish the Moravian Duets and commissioneda set of Slavonic Dances for piano duet. These compositions won particular popularity.There were visits to Germany and to England, where he was always received withgreater enthusiasm than a Czech composer would ever at that time have won in Vienna.The series of compositions that followed secured him an unassailable positionin Czech music and a place of honour in the large world. Early in 1891 Dvorák became professor of composition atPrague Conservatory. In the summer of the same year he was invited to becomedirector of the National Conservatory of Music in New York, a venture which, itwas hoped, would lay the foundations for American national music. The veryBohemian musical results of Dvorák’s time in America are well known. Here hewrote his Ninth Symphony, From the New World, its themes influenced, at least,by what he had heard of indigenous American Indian and Negro music, hisAmerican Quartet and a charming sonatina for violin and piano. In 1893 hereturned home to his work at the Prague Conservatory, writing in the followingyear a series of symphonic poems and before the end of the century two moreoperas, to add to the nine he had already composed. He died in Prague in 1904. Dvorák is not generally thought of as a composer of opera.While his chamber and orchestral music has wide international currency, hisoperas have not travelled so well, or, in some cases, at all. Nevertheless hewas closely involved with the development of a form inextricably associatedwith the rise of Czech nationalism. From 1862, the year of its opening, he wasemployed as principal viola in the Czech Provisional Theatre, where it washoped to foster national Czech opera, while his wife, formerly his pupil, was asinger and member of the opera chorus. Smetana, the most significant composerof Czech opera before Dvorák, was appointed principal conductor in 1866, andexercised an obvious influence. For the opening of the theatre no Czech operaof sufficient quality could be found and the choice fell on Cherubini’s Lesdeux journées. It was not until 1866 that Smetana’s The Brandenburgers in Bohemia,awarded first prize in a national opera competition established in 1861, wasperformed. Dvorák’s addition to the national operatic repertoire was a naturalresponse to the circumstances of his own life and to the demands andpossibilities of the time. Something of the relative lack of attention accordedhis operas must be attributed to the language of the libretti and the timidityof foreign opera-houses, coupled with a suspicion that they may simply be tooCzech for export. Dvorák’s first attempt at opera was with a German librettoby Theodor Korner, Alfred, on the subject of Alfred the Great and his struggleagainst the Danes, a topic of some oblique national relevance in Bohemia. Theopera was written in 1870 and received its first performance in 1938, althoughthe overture seemed at one time about to receive a hearing, under the titleTragic Overture. 1871 brought Dvorák’s first attempt at a Czech opera withthe work known in English as King and Charcoal Burner, to a libretto byBernhard Guldener, based on an old puppet play. The story concerns the visit ofthe king, unrecognised and lost in the forest, to the charcoal-burner’s houseand the consequent jealousy of the lover of the charcoal-burner’s daughter, afeeling dispelled by the king’s invitation to visit him in his palace, wherethe fortunes of all are made. The opera was put into rehearsal in its firstform in 1873, but withdrawn after the complaints of singers and orchestralplayers. In 1874 Dvorák completely rewrote the piece, following the model ofWeber and Lortzing rather than Wagner, whose influence on him was waning. Inthis form it was given four performances at the Provisional Theatre towards theend of the year. He made additions and revisions for performances in 1881 andrevised still further the libretto and music of Act III for performances in thesummer of 1887. Dvorák followed the second version of King and CharcoalBurner with immediate work on a second Czech opera, The Stubborn Lovers,completed just before Christmas in 1874. The one-act village comedy was notperformed until 1881, when it failed to please and was withdrawn. The followingyear the composer turned his attention to a more ambitious project, thefive-act grand opera Vanda on a story of obvious patriotic appeal. The work wasgiven four performances in 1876 and underwent later revision. The CunningPeasant, a two-act comic opera written in 1877, was more successful and therewere additional performances in German opera-houses and in Vienna in thefollowing years. The opera Dimitrij is based on historical events the preludeto which, at least, is generally familiar from Mussorgsky’s Boris Godunov, awork unknown at the time to Dvorák. Here the composer had a competent librettoby a writer of some contemporary distinction, Marie Cervinková-Riegrová. Hisfirst sketches were completed in 1881, and scoring was ready for performance inOctober 1882, when the piece won some success. It was later to suffer variousrevisions in elements of the plot and, in 1894 and 1895, more substantialreworking on Wagnerian lines. The story concerns the Russian usurper Dimitrij,proclaimed Tsar, and his love for Xenia, only surviving child of Boris Godunov,and consequent complications in his relationship with his wife, the PolishPrincess Marina, who denounces her husband as a false pretender to the throneand brings about his death. The Jacobin, with a libretto again by Marie Cervinková,finds Dvorák nearer home again, although he had hesitated to compose such awork, expressing a preference for something like Carmen, while temptedmomentarily by suggestions that he should write a German opera for Vienna.After some delay, he completed the piece in November 1888 and it was stagedsuccessfully early the following year. There were again revisions to librettoand music, the final version appearing in 1898. The story concerns the plottingof the count’s disgraced son, the Jacobin of the title, a young man ofrevolutionary ideals, who has been sent away by his father and has married. Theyoung man comes back to find a cousin trying to usurp his place and with thehelp of the old music-master, Benda, a character in which it is supposed Dvorákrecalled his old teacher in Zlonice, regains his true position as heir to hisbeloved father. There is a lively and idiomatic introduction to the opera,which leads to a characteristic scene set in Bohemia, with an inn on one sideand the church opposite, as Bohuš and his wife Julie return. The second actintroduces a strongly lyrical element, while the ballet music for Act III hasbeen regarded by some critics as otiose, whatever its charm. Kate and the Devil was written in 1898 and 1899, using alibretto by Adolf Wenig, based on a folk-tale. The unlikely heroine is atalkative spinster, who succeeds in intimidating the devil Marbuel, who appearswhen Kate can find no dancing-partner and offers to dance with the Devilhimself, should he appear. The couple dance and dance, and eventually disappeardown a hole into Hell. Lucifer has sent Marbuel to look into the tyrannicalbehaviour of the lady of the village, whose dismissed shepherd follows to bringKate back. In Hell, where Kate is proving troublesome, Lucifer is happy enoughthat the young man should take Kate away and that his former employer should bepunished, but Kate sees gold and is unwilling to leave, until the young mandances her back to the world again. All ends happily enough in the third actwith the repentance of the lady of the manor, the rewarding of the youngshepherd and the victory of Kate over Marbuel, who flees from her in terror.The opera was first performed in Prague in 1899 and won the composer a prize of2000 Kronen from the Czech Academy of Sciences and Arts. Rusalka, based largely on de la Motte Fouqué’s Undine, usesa new Czech libretto by Jaroslav Kvapil and is described as a three-act lyricfairy-tale. Dvorák completed the piece towards the end of November, 1900, andit was performed with considerable success at the end of March the followingyear. The story concerns a water-spirit, who, like Undine, falls in love with amortal prince, with consequent and predictable complications, as the prince’sattentions wander towards a Polish princess, whom he marries. His laterrepentance leads to his death in the arms of his beloved Rusalka. Dvorák’s last opera and last composition was the operaArmida, using the story from Tasso’s Gerusalemme Liberata that is familiar inso many other operatic settings from Lully and Handel to Gluck, Salieri andHaydn. The Czech libretto was by Jaroslav Vochlicku and had already beenrejected by two or three other composers. He completed the work in August,1903, after some eighteen months’ work, and it was poorly staged in Prague inMarch, 1904, achieving no par1icular success, although it was given sevenperformances. Tasso’s story is changed to allow further magic intrusion from aSyrian prince, with the destruction of Armida’s magic garden, its restorationand subsequent destruction once more. Whatever dramatic deficiencies may lie inthis version of the tale, Dvorák’s music, a bid, perhaps, for acceptance as aninternational composer of opera, has many felicities. Dvorák suffered the first signs of approaching illnessduring rehearsals for Armida. The ineffectiveness of the dress rehearsal, whenthe principal tenor was indisposed and the conductor apparently insensitive,caused him particular annoyance. At the postponed first performance on 28thMarch, 1904, he felt unwell and left the theatre early. His indispositioncontinued with only brief interruption until his death on 1st May. CSSR State Philharmonic Orchestra (Košice) The East Slovakian town of Košice boasts a long anddistinguished musical tradition, as part of a province that once providedVienna with musicians. The State Philharmonic Orchestra is of relatively recentorigin and was established in 1968 under the conductor Bystrik Rezucha.Subsequent principal conductors have included Stanislav Macura and LadislavSlovák, the latter succeeded in 1985 by his pupil Richard Zimmer. The orchestrahas toured widely in Eastern and Western Europe and plays an important part inthe Košice Musical Spring and the Košice International Organ Festival. Robert Stankovsky Robert Stankovsky was born in Bratislava, the capital ofSlovakia, in 1964, and after a childhood spent in the study of the piano,recorder, oboe and clarinet, turned his attention, at the age of fourteen, toconducting, graduating in this and in piano at the Bratislava Conservatory withthe title of best graduate of the year. In spite of his youth Stankovsky hashad considerable experience as a conductor with the major orchestras ofSlovakia, including the Slovak Philharmonic Orchestra, the CapellaIstropolitana, the Bratislava Radio Symphony Orchestra, as well as the CentralBohemian Symphony Orchestra, the Košice State Philharmonic Orchestra andothers. He has conducted in East and West Germany, in Hungary, Russia, Austria,the Netherlands, Spain and in the United States of America and is at the momentconductor of the Czechslovak Radio Symphony Orchestra, Bratislava, and of theKošice State Philharmonic Orchestra. He has made recordings with the UkrainianRadio Orchestra in Kiev and since November, 1988, has been permanent guestconductor of the Leipzig Grosses Rundfunk Orchestra. Stankovsky is regarded asone of the best conductors of the younger generation in Czechoslovakia.
  • • 专辑列表
    • 歌剧《国王与烧炭人》序曲 King and Charcoal Burner: Overture

      

      1:歌剧《国王与烧炭人》序曲 King and Charcoal Burner: Overture

      09:10

      歌剧《雅各宾党人，作品84》（选曲） The Jacobin, Op. 84 (excerpts)

      

      2:第一幕：前奏曲 Act I: Prelude

      01:21

      3:第二幕：前奏曲 Act II: Prelude

      03:05

      4:第三幕：芭蕾音乐 Act III: Ballet Music

      06:35

      歌剧《凯特与魔鬼，作品112》（选曲） Kate and the Devil, Op. 112 (excerpts)

      

      5:序曲 Overture

      08:51

      6:第二幕：前奏曲 Act II: Prelude

      03:47

      7:第二幕：恶魔之舞 Act II: Infernal Dance

      04:59

      8:第三幕：前奏曲 Act III: Prelude

      04:24

      歌剧《水仙女，作品114》（选曲） Rusalka, Op. 114 (excerpts)

      

      9:序曲 Overture

      04:20

      10:第二幕：波洛奈兹舞曲 Act II: Polonaise

      04:59

      歌剧《德米特里，作品64》序曲 Dimitrij, Op. 64: Overture

      

      11:歌剧《德米特里，作品64》序曲 Dimitrij, Op. 64: Overture

      13:07

      歌剧《阿尔米达，作品115》序曲 Armida, Op. 115: Overture

      

      12:歌剧《阿尔米达，作品115》序曲 Armida, Op. 115: Overture

      06:15