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  • 考恩：第三交响曲／印度狂想曲
    COWEN: Symphony No. 3 / Indian Rhapsody
    专辑号：8.223273
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• • 考恩：第三交响曲／印度狂想曲/COWEN: Symphony No. 3 / Indian Rhapsody
  • [ 介绍 ]
  • Frederic Hymen Cowen (1852-1935) The Butterfly’s Ball, Concert Overture Indian Rhapsody Symphony No. 3 in C Minor "Scandinavian" Frederic Hymen Cowen was a figure of considerable importancein English music in the last two decades of the nineteenth century and in theearlier years of the twentieth. He excelled particularly as a conductor, was anot insignificant pianist and won wide respect as a composer. His reputation inthe last capacity has proved unfairly ephemeral. It might seem that in the yearthat sees the centenary of his opera Thorgrim, described by a recent writer asnegative, colourless and insipid, the time has come to listen again to musicthat found much favour in its own time but has subsequently often beendisparaged unheard. Cowen was born in Jamaica in 1852 and moved with his parentsto England four years later. He showed an early talent for music and publisheda waltz at the age of six, following this two years later with an operetta onthe subject of Garibaldi, with a libretto written by his elder sister. At thesame age he became a pupil of Goss, a pupil of Mozart’s pupil Attwood, and ofJulius Benedict, a pupil of another disciple of Mozart, Hummel. He gave hisfirst public piano recital in 1863 and the following year was the soloist inMendelssohn’s D minor Piano Concerto in a concert at Dudley House for the Earlof Dudley, to whom Cowen’s father was private secretary. Joseph Joachim and thesinger Charles Santley played on the same occasion and in 1865 Joachim and thecellist Alessandro Pezze joined the 13-year-old Cowen in a performance of hisown Piano Trio in A major. In the same year Cowen was taken by his parents to Leipzigto study at the Conservatoire, where his teachers included the violinist turnedpiano teacher Louis Plaidy, Moscheles, Reinecke, Hans Richter and Spohr’sformer pupil Moritz Hauptmann. War interrupted his studies, and after a briefperiod in England, he moved to Berlin as a pupil of Friedrich Kiel at the SternConservatory. Before the year was out he was back once more in London,performing regularly at concerts as a pianist. His first important exposure asa composer came in 1869 with performances of his first symphony and his pianoconcerto. Embarking on a professional career, Cowen was first employedas an accompanist for James Henry Mapleson’s opera company and under the famousconductor Sir Michael Costa at Her Majesty’s Theatre. His first opera, Pauline,based on Edward Bulwer Lytton’s The Lady of Lyons, was successfully staged forthe first time in 1876 by the Carl Rosa company at the Lyceum Theatre, whileCosta arranged a commission from the Birmingham Festival that brought in thesame year the cantata The Corsair, based on Byron’s poem of that name. It was,however, the Scandinavian Symphony, first performed at St. James’s Hall on 18thDecember 1880, that established Cowen as a composer of importance in Englishmusical life. The inspiration for the symphony had come from a tour ofScandinavia as accompanist to the French contralto Zélia Trebelli, prima donnain a number of seasons with Mapleson’s company. The work won remarkablepopularity at home and abroad. Further commissions and compositions followed,with increasing activity as a conductor. In 1888 he followed Sir ArthurSullivan as permanent conductor of the London Philharmonic Society,interrupting his tenure for a lucrative six-month visit to Melbourne for theAustralian Centennial Exhibition, where he conducted daily concerts. From 1896until 1899 he was conductor of the Hallé Orchestra in Manchester, employed,some suggested, as a temporary substitute for Hans Richter. At the same time heheld an appointment with the Liverpool Philharmonic Orchestra, which herelinquished in 1913. In Bradford he was conductor of the Festival ChoralSociety and Permanent Orchestra and for ten years, from 1900, was conductor ofthe Scottish Orchestra in Glasgow. Other engagements included the direction ofthe Cardiff Festival from 1902 until 1910 and the direction of the triennial HandelFestivals, starting in 1903. He was knighted in 1911 and received honorary doctoratesfrom the Universities of Cambridge and Edinburgh. Cowen wrote six symphonies, works that he considered hismost considerable achievement. He provided an abundance of choral music,particularly for the festivals with which he was concerned, operas that enjoyedsome contemporary success and 300 or so songs, many of which have retained acontinuing place in more popular repertoire. It has been suggested that, likeSullivan, his gift lay rather in the composition of light music. Thesymphonies, at least, would suggest a more substantial talent. The Viennacritic Eduard Hanslick, indeed, who counted Cowen among the amiable andcultivated gentlemen dominating music in London, found that his works showedgood schooling, a lively sense of tone painting and much skill inorchestration, if not striking in originality. He went on to suggest that themore concise forms of instrumental music and serious choral works might be thefield best suited to his gifts. The concert overture, The Butterfly’s Ball, written in 1901,is a well crafted work, making delicate use of a large orchestra. It isdedicated to the Queen’s Hall Orchestra, managed and later financed by RobertNewman. In 1895 the first promenade concerts had been given in the hall, underthe direction of Henry Wood, who was to continue the series there until 1940.While not a particularly substantial composition, the overture shows Cowen’sfacility in handling the orchestra and his gift for pleasing melody, the wholesuggesting the ephemeral Cinderella existence of the butterfly, fated to enjoyonly one day of life. The Indian Rhapsody was written two years later anddedicated to "my Scottish Orchestra", the orchestra established inGlasgow to supersede the Choral Union Orchestra. It was first performed at theThree Choirs Festival in Hereford the same year. The work makes use of a numberof themes suggesting something of India, although the opening pentatonicmaterial might now imply music from further East. A theme of morecharacteristic outline is followed by a viola solo, moving forward to anothermelody, now entrusted to the cor anglais, accompanied at first by the harp, inmusic of a Scottish colour. A novel percussive effect that follows is heard ina repeated rhythm played by beating one drumstick against another, over aninsistent accompaniment to an energetic new melody. The Rhapsody shows acertain superficial kinship with Russian exoticism of the same period in itsuse of melodies of oriental flavour, deftly orchestrated, to which material ofmore obvious European contour provides a contrast. The Scandinavian Symphony was written in 1880 and dedicatedto Francis Hueffer, who in 1878 had succeeded Davison as chief music critic ofThe Times. In 1885 Hueffer, an influential Wagnerian, was to provide Cowen withthe text for his cantata The Sleeping Beauty. The Times, in fact, was warm inits approval of the new work as the most important English symphony for manyyears. The score was first published in Vienna in 1882. The first movementopens with a first theme played by clarinets and bassoons to which the stringsadd a second subject in music tautly constructed according to classicalprinciples. The second movement, the only one with a descriptive title, makesuse of four off-stage horns to provide the pictorial effect suggested in thetitle. The horns are first heard after the moving opening section, their soundpunctuated by the harp. As the distant music dies away the first theme re-appears,with delicate filigree accompaniment. The horns are briefly heard once more,before the movement comes to an end. The strings open the third movementScherzo, a lively movement, with a contrasted Trio into which the clarinetleads. The sound dies away, to be followed by the irregular rhythm of the maintheme of the last movement, forcefully announced by the strings, and bringingchanges of mood before the final triumphantly emphatic C major conclusion. Czechoslovak 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 Ladislav Slovák,the latter succeeded in 1985 by his pupil Richard Zimmer. The orchestra hastoured widely in Eastern and Western Europe and plays an important part in the KošiceMusical Spring and the Košice International Organ Festival. For Marco Polo the orchestra has made the first compact discrecordings of rare works by Granville Bantock and Joachim Raff. Writing on thelast of these, one critic praised the orchestra for its competence comparableto that of the major orchestras of Vienna and Prague, and for its willingnessto undertake repertoire of this kind without condescension. The orchestra hascontributed several successful volumes to the complete compact disc JohannStrauss II and for Naxos has recorded a varied repertoire. Adrian Leaper Adrian Leaper studied conducting with Maurice Miles at theRoyal Academy of Music in London, where he was trained also as a horn-player,later appearing with the London Sinfonietta and the English Chamber Orchestra,as well as serving eight years in the Philharmonia Orchestra, five of them asco-principal. At the same time he undertook a variety of conducting engagementswith amateur and professional orchestras, in particular with the CambridgeSymphony Orchestra, of which he was appointed Musical Director and PrincipalConductor in 1982. He has more recently been appointed to the new position ofAssistant Conductor with the Hallé Orchestra. Adrian Leaper has appeared at anumber of major festivals including Edinburgh, Bonn, Bath, King’s Lynn,Greenwich, Cambridge and Henley. In a busy career in the recording studio Adrian Leaper hasdirected releases of music by Granville Bantock for Marco Polo, and for Naxos aScandinavian series that includes the complete cycle of Sibelius symphonies andthe violin concerto. His Naxos recordings also include a wide range of Englishmusic, from Dowland to Elgar.
  • • 专辑列表
    • 蝴蝶的舞会 The Butterflys Ball

      

      1:蝴蝶的舞会 The Butterflys Ball

      11:49

      印度狂想曲 Indian Rhapsody

      

      2:印度狂想曲 Indian Rhapsody

      15:50

      C小调第三交响曲，“斯堪的纳维亚人” Symphony No. 3 in C minor, Scandinavian

      

      3:第一乐章：有节制的快板，但稍快 I. Allegro moderato ma con moto

      11:44

      4:第二乐章：海湾的夏夜：稍快的柔板－小快板 II. A Summer Evening on the Fjord: Adagio con moto - Allegretto

      10:16

      5:第三乐章：谐谑曲：十分活跃，近似急板 III. Scherzo: Molto vivace quasi presto

      6:30

      6:第四乐章：终曲：快板，但不太快 IV. Finale: Allegro ma non troppo

      10:44