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  • 斯美塔那：选自歌剧的管弦乐精萃
    SMETANA: Orchestral Highlights from Operas
    专辑号：8.223326
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• • 斯美塔那：选自歌剧的管弦乐精萃/SMETANA: Orchestral Highlights from Operas
  • [ 介绍 ]
  • BedřichSmetana (1824-1884) OrchestralHighlights from Operas BedřichSmetana is a figure of the greatest importance in the development of Czechmusic, creating and inspiring a synthesis of native tradition and the classicalforms of music in which he had been trained. Born in 1824, the eleventh childand the first son to survive infancy of a brewer who had profited from thethirst of Napoleon’s troops and had later becorne brewer to Count Waldstein, heshowed early promise as a pianist and violinist and wrote his firstcompositions at the age of nine. Smetana’sfather was a keen amateur musician, a violinist, and was able to teach his son.There was, however, a period of some eight years during which Smetana hadlittle professional musical training, while attending schools in variousprovincial towns. In 1838, however, he persuaded his father to allow hirn tostudy in Prague and there took the opportunity to devote himself to musicrather than to anything else. This happy state of affairs continued only for ayear, after which he was despatched to undergo more rigorous schooling under anuncle’s supervision a! Pizen (Pilsen). Here he found scope for his abilities inplaying for dances at social gatherings and pleasure in meeting again KaterinaKolarova, who in 1849 was to become his first wife. In 1843 he left school andmoved to Prague, determined to make a living as a musician, and supportinghimself by employment as piano teacher to the family of Count Thun. 1848was a year of nationalist disturbance in Europe. Smetana started a musicschool, but the political events of the time engaged his sympathies and he wasto remain deeply committed to ideas of Czech nationalism, although his ownfirst language remained German. After his marriage he was employed as a teacherand pianist to the former Emperor Ferdinand V, the retarded heir to theHabsburg throne. These years, however, brought various difficulties anddisappointments, with the death of three of his four children and the illnessof his wife. Finally, in 1856, he sought a solution for money troubles bymoving to Göteborg, where he opened a successful music school and becameclosely involved with the musical life of the city. Five years later hereturned to Prague, while retaining some association with Sweden. Itwas after his return to Bohemia that Smetana set about the composition of musicfor the theatre. In 1863 he completed The Brandenburgers in Bohemia, which hefinally conducted at the Czech Provisional Theatre three years later, in 1866,the year of The Bartered Bride, when he was at last appointed principalconductor of the Theatre. Two years later Dalibor was staged, to accusations ofWagnerism, followed in 1872 by the completion of Libuše and two years later theopera The Two Widows. Smetana had his enemies and rivals, and there was agrowing movement for his dismissal from the Provisional Theatre. In 1874 he wasforced to take leave of absence as a result of his increasing deafness, andaccompanying tintinnitus. In spite of the limitations this imposed on hisability to compose, he completed the opera The Kiss in 1876 and The Secret twoyears later. In 1881, at the opening of the new National Theatre, his operaLibuše was staged, while he continued to work relatively slowly on his operaThe Devil’s Wall, which he had started in 1879 and eventually completed in1882. His health continued to deteriorate, with intermittent loss or memory andof speech, and he died in May, 1884, in an asylum in Prague. Thestormy Overture to The Brandenburgers in Bohemia introduces a medieval story ofthe Brandenburg Burgrave Otto V, whose army occupied Bohemia after the defeatand death of Otakar II. In Smetana’s opera, a work of obvious topicalreference, the peasant hero Jíra accuses the German mayor Tausendmark ofcorruption, a charge for which he is at first made to suffer, though laterexonerated. Daliboris set in the 15th century. The protagonist, a knight, avenges the death of hisfriend, the minstrel Zdenek, by killing his slayer, the Burgrave of Ploskovice.The sister of the Burgrave seeks justice from King Vladislav, but changes hermind and tries to help him escape. The plan fails, and both are killed. Theopera, with its rescue plot, as Milada, in disguise like Beethoven’s Leonora,attempts to save a prisoner condemned to starvation, has clear politicalovertones. Thelibretto of Libuše, again by the writer Joseph Wenzig, author of Dalibor, takesas its title the name of the princess, descendant of the first Czech to leadhis people into Bohemia, whose marriage began a new and prosperous dynasty. Shesettles an argument between her two young brothers over their inheritance bydividing it into two equal parts, but jealousy is aroused by the interventionof one of Libuše’s ladies-in-waiting. Matters are brought to a rationalconclusion when Libuše takes as her husband Premysl, the founder of a Bohemianruling dynasty. The opera is described as ¡§festive¡¨ and was performed at theopening of the National Theatre and again when the theatre was rebuilt after adisastrous fire. The Two Widows is a comic opera on a muchsmaller scale. It deals with two widows Caroline and Agnes, and the latter’sill-concealed love for the rich young neighbour Ladislav, who trespasses onCaroline’s land in order to meet Agnes, but is caught and imprisoned byCaroline’s dim-witted gamekeeper Mumlal. The Kiss and The Secret belong to thesame unpretentious group of later operas. The first concerns the proposedmarriage between the widower Lukas and Vendulka, who refuses, in accordancewith an old superstition, to kiss him before their wedding. Matters areresolved only after Lukas has kissed a great many other girls. The Secret alsodeals with country matters, with the long delayed marriage between Kalina andRoza, and between Vitek, Kalina’s son, and Roza’s niece. The secret of thetitle lay in the promised existence of a treasure that should make Kalina rich,a treasure that turned out not to be gold, as Roza suspected, but herself. TheDevil’s Wall, described by Smetana as a comic-romantic opera, deals with thelegendary attempt by the Devil to change the course of the River Vltava toavoid the building of a monastery. The hermit Beneš conjures with the Devil toprevent the marriage of the rich Marshai of Bohemia, whose wealth will come tothe monastery, of which Beneš hopes to become abbot. The work, with strongelements of dramatic parody and music that belies the composer’s illness, hassome complexity of intrigue, as the Devil, Rarach, does his worst, at timesdramatically identified as the Doppelgänger of Beneš. TheOverture to the puppet play Oldrich and Boźena was written in 1863 as anintroduction to the work of M. Kopecky, for whose Doktor Faust Smetana hadprovided an Overture the previous year. Czecho-SlovakState Philharmonic Orchestra (Košice) TheEast Slovakian town of Košice boasts a long and distinguished musicaltradition, as part of a province that once provided Vienna with musicians. TheState Philharmonic Orchestra is of relatively recent origin and was establishedin 1968 under the conductor Bystrik Rezucha. Subsequent principal conductors haveincluded Stanislav Macura and Ladislav Slovák, the latter succeeded in 1985 byhis pupil Richard Zimmer. The orchestra has toured widely in Eastern andWestern Europe and plays an important part in the Košice Musical Spring and theKošice InternationalOrgan Festival. ForMarco Polo the orchestra has made the first compact disc recordings of rareworks by Granville Bantock and Joachim Raff. Writing on the last of these, onecritic praised the orchestra for its competence comparable to that of the majororchestras of Vienna and Prague. The orchestra has contributed severalsuccessful volumes to the complete compact disc Johann Strauss II and for Naxoshas recorded a varied repertoire. RobertStankovsky RobertStankovsky was born in Bratislava, the capital of Slovakia, in 1964, and aftera childhood spent in the study of the piano, recorder, oboe and clarinet,turned his attention, at the age of fourteen, to conducting, graduating in thisand in piano at the Bratislava Conservatory with the title of best graduate ofthe year. In spite of his youth Stankovsky has had considerable experience as aconductor with the major orchestras of Slovakia, including the SlovakPhilharmonic Orchestra, the Capella Istropolitana, the Bratislava RadioSymphony Orchestra, as well as the Central Bohemian Symphony Orchestra, theKošice State Philharmonic Orchestra and others. He has conducted in East andWest Germany, in Hungary, Russia, Austria, the Netherlands, Spain and in theUnited States of America and is at the moment conductor of the Czecho-SlovakRadio Symphony Orchestra, Bratislava, and of the Košice State PhilharmonicOrchestra. He has made recordings with the Ukrainian Radio Orchestra in Kievand since November, 1988, has been permanent guest conductor of the LeipzigGrosses Rundfunk Orchestra. Stankovsky is regarded as one of the bestconductors of the younger generation in Czechoslovakia. For Marco PoloStankovsky has recorded symphonies by Rubinstein and Miaskovsky in addition toorchestral works by Dvorák and Smetana.
  • • 专辑列表
    • Branibori v Cechnach (The Brandenburgers in Bohemia)

      

      1: Overture

      00:57

      2: Act I: Ballet

      02:27

      Dalibor

      

      3: Entracte

      04:52

      4: Entrance of King Vladislav

      03:04

      Libuse

      

      5: Overture

      08:48

      6: Act III: Festival March

      06:18

      Dve vdovy (The Two Widows)

      

      7: Overture

      07:11

      8: Act II: Prelude

      02:39

      9: Act II: Polka

      03:30

      Hubicka (The Kiss): Overture

      

      10: Overture

      06:24

      Tajemstvi (The Secret): Overture

      

      11: Overture

      06:46

      Certova stena (The Devils Wall)

      

      12: Introduction

      03:20

      13: Act III: Infernal Dance

      02:51

      Oldrich a Bazena (Oldrich and Bozena): Overture

      

      14: Overture

      03:44