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  • 鲁宾斯坦：第五交响曲／ 德米特里·唐斯基／浮士德
    RUBINSTEIN: Symphony No. 5 / Dmitry Donsky / Faust
    专辑号：8.223320
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• • 鲁宾斯坦：第五交响曲／ 德米特里·唐斯基／浮士德/RUBINSTEIN: Symphony No. 5 / Dmitry Donsky / Faust
  • [ 介绍 ]
  • AntonRubinstein (1829-1894) SymphonyNo. 5 in G Minor, Op. 107 Overture:Dmitry Donskoy Faust,Op. 68 Itwas Gustav Mahler who described himself as three times homeless: a Bohemian inAustria; an Austrian among Germans; a Jew throughout the whole world. Thenineteenth century provided chances for Jewish assimilation into a Gentileworld. The Jewish poet Heine described baptism as a ticket into Europeanculture, and it was a course chosen by some, such as the Mendelssohn family andin Russia by the Rubinsteins. Nevertheless, as Jewish fortunes prospered,anti-Semitism became more overt. There is no doubt that Anton Rubinstein’sreputation suffered because of his racial origins, much as it suffered amongRussian nationalists as a result of his obviously cosmopolitan or Germanmusical proclivities. AntonRubinstein was born at Vikhvatinets in the Podolsk district of the RussianEmpire, on the borders of Moldavia, in 1829. A few years later his family movedto Moscow, and after early instruction on the piano from his mother he tooklessons from a teacher there, a certain Villoing, later to be the teacher ofhis brother Nikolay. He gave his first public concert in Moscow at the age often. There followed four years of touring as a child virtuoso, years that tookhim to Paris, to Scandinavia, Austria and Germany, and to London, where heplayed for Queen Victoria. In 1844 the family settled in Berlin, whereRubinstein took lessons in harmony and counterpoint from Glinka’s formerteacher, the Prussian royal music librarian Siegfried Dehn. In1846 Rubinstein’s father died and the rest of the family returned to Russia,while he remained abroad in Vienna and in Pressburg (the modern Bratislava),earning a living as he could by teaching and cynical about the support that theapparently generous Liszt semed to offer, which took the form of a visit to hisgarret in Vienna, with his entourage of disciples. As a pianist Rubinsteinrivalled Liszt in fame, and the latter spoke of him with grudging respect as acomposer and player, a clever fellow, but unduly influenced by the classicismof Mendelssohn, adding a less charitable description of him as thepseudo-Musician of the future on the occasion of a visit to Weimar in 1854 forthe first performance of his opera The Siberian Huntsmen. Rubinstein’sfortunes had changed as a result of a meeting with members of the RussianImperial family during the course of an earlier visit to Paris. On his returnto Russia in the winter of 1848 he found support from the Grand Duchess ElenaPavlovna, a German princess and sister-in-law of the Tsar. With her activeencouragement he established in 1859 the Russian Musical Society and threeyears later the St. Petersburg Conservatory. His brother Nikolay, whosechildhood prowess as a pianist had enjoyed similar exposure, founded acompanion Conservatory in Moscow. Tchaikovsky was among the first students ofthe St. Petersburg Conservatory and among the first teachers on the staff ofits counterpart in Moscow. Thenew Conservatory aroused immediate enmity, in particular from the nationalistgroup of composers, bullied into collaboration by the eccentric Balakirev.Rubinstein had opened battle by attacking the whole notion of national opera,pointing to the alleged failure of Glinka’s work. Balakirev, self-taught as acomposer, objected to formal German musical training, and it was left tofollowing generations to benefit from a profitable synthesis of the relativelyprimitive nationalism of the Five and the cosmopolitan sophistication and technicalaccomplishment of the Conservatories. Rubinstein, however, coupled technicalassurance with a less overtly Russian approach, although by the time of hisdeath in 1894 he had come to a better understanding of Russian nationalism inmusic, while a younger generation had come to appreciate the necessity ofprofessional musical training. Rubinsteinremained director of the St. Petersburg Conservatory until 1867 , when he alsogave up the directorship of the Russian Music Society concerts, which now fellto Balakirev. He returned to direct the Conservatory once more in 1887, towardsthe end of a career that had established him as one of the greatestcontemporary pianists and as a conductor of significant ability .As a composerhe was prolific, leading his younger brother Nikolay, when asked about his owncompositions, to reply that Anton had written enough for both of them. By theend of his life, however, he had lost the respect of the younger generation, sothat his name had become synonymous with kitsch - c’est du Rubinstein hadbecome a familiar jibe. It is only now, with hindsight, that we can begin toreassess his very remarkable and substantial achievement in opera, orchestraland chamber music, and in his writing for the piano, so long remembered invidiouslyonly by the notorious Melody in F. Rubinsteinwrote the fifth of his six symphonies in 1880. The first movement opens with athoroughly Russian theme, entrusted to the woodwind, a section that alsoembarks on the second subject, a theme of less obvious national provenance. Thematerial is treated with Rubinstein’s usual Mendelssohnian economy of means andtechnical competence according to established classical procedure. An equallyRussian theme is passed from clarinet to oboe, to flute and to the violins, inthe first theme of the second movement scherzo, with its contrasted minor triosection, dominated by more melancholy national sentiments. A solo French hornsets the mood of the slow movement, followed by the lively thematic material ofthe finale, brought together in a finely crafted conclusion. Modern writershave commented on the connection between this symphony and Tchaikovsky’s FirstSymphony, in the same key, a work written as a student of Rubinstein, and againvery much under the influence of Mendelssohn. Yet Rubinstein’s Fifth Symphonyis in no sense either merely derivative or a shadow of his pupil’s work.Dedicated to the memory of the Grand Duchess Elena Pavlovna, to whose supporthe owed his career, the symphony is Russian in its melodies, but lacks any ofthe crudity that can be found all too often in the contemporary work of thedilettante nationalist composers then in the ascendant. Rubinstein’sfirst opera, Dmitry Donskoy, attempted a thoroughly national Russian theme. Itwas completed in 1850 and first staged in St. Petersburg two years later. Thesubject of the opera, derived from the pseudoclassical drama of VladislavAlexandrovich Ozerov, is the grand prince of Moscow who in the fourteenthcentury defeated the Tatars and established the supremacy of Muscovy. PrinceDmitry’s title, Donskoy, is a reference to the site of his second victory. Theopera had little success, leading Rubinstein to declare nationalism in opera animpossibility, while accusing nationalist composers, with some justification,of dilettantism. It is of significance to notice that Rimsky-Korsakov,recalling in later life his early experience of opera in St. Petersburg,mentions "somebody’s opera" Dmitry Donskoy. Faust,written in 1864, originally formed part of a Faust symphony. The singlemovement that Rubinstein preserved was described as a musical picture afterGoethe. In this respect the music speaks for itself, following something of thefortunes of Faust from the study to rejuvenation and later retribution,narrowly avoided. HoriaAndreescu TheRomanian conductor Horia Andreescu was born in Brasov in 1946 and received hismusical training at the Academy in Bucharest and at the Vienna Music Academy,where his teachers included Hans Swarowsky and Karl Oesterreicher. He has won anumber of awards, national and international, and has appeared in major citiesin Eastern and Western Europe.
  • • 专辑列表
    • Symphony No. 5 in G minor, Op. 107

      

      1: I. Moderato assai

      11:24

      2: II. Allegro non troppo - Moderato assai

      07:29

      3: III. Andante

      09:29

      4: IV. Allegro vivace

      11:13

      Dmitry Donskoy: Overture

      

      5: Dmitry Donskoy: Overture

      12:05

      Faust, Op. 68

      

      6: Faust, Op. 68

      19:45