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  • 班托克：赫布里底交响曲／古老的英国组曲
    BANTOCK: Hebridean Symphony / Old English Suite
    专辑号：8.223274
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• • 班托克：赫布里底交响曲／古老的英国组曲/BANTOCK: Hebridean Symphony / Old English Suite
  • [ 介绍 ]
  • Granville Bantock (1868-1946) Old English Suite Russian Scenes Hebridean Symphony Granville Bantock was originally intended for the IndianCivil Service. The son of a Scottish doctor, he was born in London in 1868 andturned to music relatively late in adolescence, entering the Royal Academy in1889 after a period at Trinity College of Music. Under his teacher FrederickCorder, a former pupil of Hiller in Cologne, he did well enough to have anumber of his student compositions performed at the Academy, including aone-act opera, Caedmar, an Egyptian ballet suite from the incidental music tohis own play Rameses II, a dramatic cantata, The Fire Worshippers, and Wulstan,a scena for baritone and orchestra, all marks of his very considerableambition. In 1893 he left the Academy and for the next three years edited TheNew Quarterly Music Review, while serving as a conductor for performances oflight music, directing musical comedies for George Edwardes in a world tour in1894 and 1895 and Stanford’s opera Shamus O’Brien. He followed this with anambitious London concert devoted entirely to the music of contemporary Britishcomposers, most of whom are now forgotten, except for Bantock himself. In 1897 Bantock became conductor at The Tower in New Brighton, where he remained for four years, taking the opportunity to do whathe could to encourage British composers in a musical establishment of limitedpossibility, augmented in 1898 by the foundation of the New Brighton ChoralSociety. In 1900 he conducted a programme of British music in Antwerp,including first performances of some of his own compositions, among which wasthe symphonic poem Jaga-Naut, intended as the second of 24 projected symphonicpoems, based on Robert Southey’s poem The Curse of Kehama. Later tone poemsfollowed, generally with some declared literary derivation. In 1900 Bantock became principal of the Birmingham andMidland Institute School of Music, following Elgar as Peyton Professor of Musicat the University in 1908, appointments which inevitably drew him into themusical establishment, leading in 1930 to a knighthood. The system of musicaltraining he advocated involved a much wider education than is usual for musicstudents and included general literature, mathematics and languages, a sign ofhis own breadth of interest, reflected in the variety of his compositions andin particular their wide literary terms of reference. These included themonumental setting of Edward Fitzgerald’s translation of Omar Khayyam, a workin three parts that was first heard at music festivals in England and Wales andin 1912 received a successful performance in Vienna. His subsequent involvementwith competitive festivals in England led him to write a considerable amount ofmusic for this purpose. He retired from his position in Birmingham in 1934,continuing thereafter his activity as a composer, a conductor and an examinerfor Trinity College of Music. Sir Thomas Beecham, eleven years Bantock’sjunior, saw his gifts as principally operatic, praising what he describes as a"flow of genial melody, unmistakably of the ’stagey’ sort, a solid butlively handling of the orchestra, and a by no means too common capacity forpassing swiftly and easily from one contrasting mood to another", findingin him one of the two outstanding figures in English musical life. Bantock diedin 1946. The Old English Suite, scored for small orchestra, waswritten in 1909, and consists of well crafted orchestral arrangements of musicfrom the golden age of Queen Elizabeth I and her immediate successor. Anarrangement of an Orlando Gibbons Fantasia is followed by a tribute to JohnDowland, whose Lachrymae Pavans, Seven Tears of a Sorrowful Soul, reflectedwell enough the fashionable melancholy of the period, although the lutenist washimself a cheerful soul enough, according to the testimony of hiscontemporaries. The great keyboard composer John Bull’s best known work, TheKing’s Hunt, leads to Giles Farnaby’s Quodling’s Delight, and homage to thegreatest Elizabethan of all, the recusant composer William Byrd, is based onhis variations on a popular song of the period, Sellinger’s Round. The orchestral suite Russian Scenes was written in 1899, acompanion to a second suite of English Scenes, while the much more musicallyambitious Hebridean Symphony was completed in 1915 and first performed inGlasgow the following year. A work of brooding mystery and impetuous drama, thesymphony reflects Bantock’s interest in traditional Scottish music, brought tohis attention through the researches of Marjorie Kennedy-Fraser, whose text heused for his opera The Seal-Woman, staged in Birmingham in 1924. The sameinterest is evident in a number of orchestral works that show a similarromantic preoccupation with the Hebrides and other aspects of Celtic culture.This is geographically balanced by an almost equal interest in Chinese subjectsand other exotic and distant cultures. It would be rash to claim too close anaffinity in the Hebridean Symphony between Bantock and his friend Sibelius,whose music he introduced to England. Nevertheless it is a work of some power,breadth of conception and imagination, an example of Bantock in a mood that isambitious, dramatic, occasionally grandiose, suggesting in a demanding score,which trumpet-players must dread, something of his own conception of a Celticworld with which he had renewed acquaintance by a walking tour of the Highlandsas a necessary preparation for the symphony. At second hand he shows equalfamiliarity with what Beecham describes as "the sumptuous Orient" and"the radiance of Antiquity". 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 Cambridge SymphonyOrchestra, of which he was appointed Musical Director and Principal Conductorin 1982. He has more recently been appointed to the new position of AssistantConductor with the Hallé Orchestra. Adrian Leaper has appeared at a number ofmajor festivals including Edinburgh, Bonn, Bath, King’s Lynn, Greenwich,Cambridge and Henley.
  • • 专辑列表
    • 古老的英国组曲 Old English Suite

      

      1:奥兰多·吉本斯：幻想曲 Orlando Gibbons: Fantasia

      03:16

      2:约翰·道兰德：眼泪帕凡舞曲 John Dowland: Lachrymae Pavan

      03:45

      3:约翰·布尔：国王的狩猎 John Bull: The Kings Hunt

      02:20

      4:贾尔斯·法纳比：阔德林的喜悦 Giles Farnaby: Quodlings Delight

      03:00

      5:威廉·伯德：塞林格的轮舞 William Byrd: Sellingers Round

      03:15

      俄罗斯风景 Russian Scenes

      

      6:在集市 At the Fair

      03:18

      7:玛祖卡舞曲 Mazurka

      02:36

      8:波尔卡舞曲 Polka

      02:40

      9:圆舞曲 Valse

      03:06

      10:哥萨克舞曲 Cossack Dance

      02:14

      赫布里底交响曲 Hebridean Symphony

      

      11:赫布里底交响曲 Hebridean Symphony

      32:32