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  • 伊贝尔：监狱叙事曲／三首芭蕾舞曲／伊丽莎白组曲
    IBERT: La Ballade de la Geole / Trois Pieces de Ballet / Suite Elisabethaine
    专辑号：8.223508
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• • 伊贝尔：监狱叙事曲／三首芭蕾舞曲／伊丽莎白组曲/IBERT: La Ballade de la Geole / Trois Pieces de Ballet / Suite Elisabethaine
  • [ 介绍 ]
  • Jacques Ibert (1890-1962) After his musical training at the Paris Conservatoire underGabriel Fauré and André Gédalge, the second of whom also had Arthur Honeggerand Darius Milhaud as his pupils, and further studies with Paul Vidal and NadiaBoulanger, Jacques Ibert settled at the Académie de France at the Villa Mediciin Rome, an institution of which he held the post of director from 1937 until1960. During the second World War, after serving as an officer in the Frenchnavy, he returned to Rome. Later, without resigning his position at the VillaMedici, he took the position of director of the Paris Opéra from 1955 to 1956and was nominated in the latter year to the Institut de France. Ibert’s personality and work are striking in their greatartistic freedom and variety of styles. A composer lying in style somewherebetween neo-impressionism, neo-classical and modern tendencies he produced animpressive list of works, including operas, ballets, stage and film scores,symphonic, chamber and vocal compositions. He can be considered a true musicalexponent of the esprit of Paris, although some of his more serious works reveala more cosmopolitan facet of his personality. His orchestral skill makes him amajor, but today still relatively unexplored representative of the French musicof the twentieth century. In an interview Ibert gave some indication of his method ofwork: "In each of my works there is an emotive shock that gave me thestarting-point of inspiration, but this shock is only useful if it can become atrue emotion. If this happens, my attitude is not to feel this emotionpassively, but to become master of it and re-create it accordingly". Hisartistic credo he expressed as follows: "What I like to do is what othersdo not...I avoid every theoretical scheme of which I might become a slave andwrite only according to the demands of my own sensitivity: truth in art is whattouches and emotion has its own boundless time". La Ballade de la Geôle de Reading Eyebrows would have been raised at the Opéra Comiquein 1937at the notion of a ballet set in Reading Gaol, not to mention at the author ofthe poem that inspired the ballet and the background of his personalexperiences as a convict. The way Jacques Ibert understood and transmittedOscar Wilde¡¦s humanitarian message with its moving account of the harsh prisonatmosphere, dominated by the story of a man who murdered his beloved,astonished and impressed that first audience against all expectation. Ibert originally conceived La Ballade de la Geôle de Readingas a symphonic poem, writing the work between 1920 and 1922. The firstperformance took place on 22nd October 1922 at the Paris Concerts Colonne, whenit was conducted by Gabriel Pierné, to whom it is dedicated. The sections ofWilde’s poem in French translation that head the score are as follows: The Ballad of Reading Gaol I (Track 1) He did not wear his scarlet coat, For blood and wine are red, And blood and wine were on his hands When they found him with the dead, The poor dead woman whom he loved, And murdered in her bed. (...) And so he had to die. (...) I never saw a man who looked With such a wistful eye Upon that little tent of blue Which prisoners call the sky, And at every drifting cloud that went With sails of silver by. (...) He only looked upon the sun. And drank the morning air. (...) For strange it was to see him pass With a step so light and gay, And strange it was to see him look So wistfully at the day, And strange it was to think that he Had such a debt to pay. II (Track 2) That night the empty corridors Were full of forms of Fear, And up and down the iron town Stole feet we could not hear,And through the bars that hide the stars White faces seemed to peer. (¡K)The hangman, with his little bag, Went shuffling through the gloom. (...) The grey cock crew, the red cock crew, But never came the day: And crooked shapes of Terror crouched, In the corners where we lay: And each evil sprite that walks by night Before us seemed to play. They glided past, they glided fast, Like travellers through a mist: They mocked the moon in a rigadoon Of delicate turn and twist, And with formal pace and loathsome grace The phantoms kept their tryst. (...) About, about, in ghostly rout They trod a saraband: And the damned grotesques made arabesques, Like the wind upon the sand! (...) But with flutes of Fear they filled the ear, As their grisly masque they led, And loud they sang, and loud they sang, For they sang to wake the dead. III (Track 3) The morning wind went wandering round The weeping prison-wall: (...) With sudden shock the prison-clock Smote on the shivering air, And from all the gaol rose up a wail Of impotent despair, Like the sound that frightened marshes hearFrom some leper in his lair. (¡K)We saw the greasy hempen rope Hooked to the blackened beam, And heard the prayer the hangman’s snare Strangled into a scream. (...) They hanged him as a beast is hanged! (...) But hurriedly they took him out, And hid him in a hole. The warders stripped him of his clothes, And gave him to the flies. (...) And there, till Christ call forth the dead, In silence let him lie: No need to waste the foolish tear, Or heave the windy sigh: The man had killed the thing he loved, And so he had to die. (Oscar Wilde) Ibert’s first symphonic work, though still influenced byDebussy, Ravel and Dukas, is an extremely mature and powerful score, masterlyin its orchestration. Inform the work is a triptych, built on modal themes. Inthe first part the cor anglais introduces the main theme, then developedthrough four sections. The prison and its inhabitants are described, withcounterpoint leading to variations of a more expansive and urgent motif, to beidentified with the murderer’s anguished desires and memories. An eerieinterlude for clarinet, harp and celesta, with transparent string writing,suggests the "little tent of blue" in Wilde’s poem, and this newmotif is developed together with the existing material into a dramatic climax,never losing, here as elsewhere, a predominantly lyrical character. The secondpart is marked by madness and terror. A Sarabande over a seven-beat rhythm isfirst developed from a mysterious to an increasingly dramatic mood,strengthened through tremoli of horror, glisdsandi, harmonics and col legnoeffects into an almost despairing 6/8 Gagliarde, using all the forces of theorchestra. The third part can be considered an epilogue, in which the darkatmosphere of the prison is brought again to a climax, an unceasing cry of pityproclaimed by the whole orchestra. It dissolves into an impressionistic mood,as at the beginning, in which feelings of hope for human pity in this world caneventually be heard in the peaceful bass clarinet and cor anglais reminiscencesof the second motif. The Ballade is scored for three flutes, double wood-windwith cor anglais, bass clarinet and double bassoon, four horns, three trumpets,three trombones, tuba, two harps and strings, with a large percussion section. Trois Pièces de Ballet (Les Rencontres) The Trois Pièces d eBallet, Les Rencontres, was inspiredless specifically than Elgar’s Enigma Variations of 25 years before. Ibert’smother, who was a music-lover and a sculptress, kept an artistic salon at herhouse, where intellectuals and society friends would gather. Ibert decided toportray some of these characteristic guests in music, at first in a set of fivepiano pieces which he called Rencontres, written in 1921-22. Two years later heorchestrated them and entitled a selection of three numbers Trois Pièces deBallet. In the case of any stage performance, choreography was left to theimagination of anyone who cared to stage the work, as Nijinska did at the ParisOpéra in 1925. The present recording makes use of the three-part concert suite.Trois Pièces de Ballet foreshadows that colourful and witty mixture ofneo-classicism and the music-hall style of the 1920s that the composer wouldlater re-create more specifically in his ballet La Licorne (or The Triumph ofChastity). While Les Bouquetières and Les Bavardes hide themselves behindclassical dance forms, Les Créoles reveals itself as a delicate tango. Passinghomage to Ravel cannot go unnoticed, especially in some outbursts in LesBavardes reminiscent of La Valse. In this third and scherzo-like movement therhythm is an infectious but often changing 5/8. The work opens with a shortintrada for distant trumpets and percussion. Although it is scored for a largesymphony orchestra, including cor anglais, three bassoons, two harps andpercussion, it contains passages suggesting rather the lightness of a chamberensemble. Féerique Féerique is a short symphonic poem, in the key of E major,composed at Houlgate in Calvados in 1924 and also first performed under GabrielPierné. Once again it is an orchestration of an earlier piano composition. Asits title reveals, Féerique brings us into a fairy world and is correspondinglyorchestrated. Impressionistic in mood, in common with much of Ibert’s music ofthis period. It contains a central section of scherzo-like character, rising toa climax at the recapitulation, in which the original lyrical theme re-appears,culminating in a glowing and rhythmically affirmative tutti. The final harpglissandi signal the breaking of the spell. The orchestral forces employed arealmost identical with those of Les Rencontres. Chant de Folie An exciting discovery among Ibert’s early compositions,Chant de Folie was inspired by the horrors of war which the composer hadhimself experienced as a young man. It was completed in 1923-24 and dedicatedto Sergey Koussevitzky, who performed it with the Boston Symphony Orchestra in1925. Henri Büsser was responsible for the first performance in Paris a yearlater. This was Ibert’s last envoi de Rome, in accordance with the terms of thePrix de Rome, after the Ballade de la Geôle de Reading, Escales, Féerique andLes Rencontres. This short and dramatic setting for mixed chorus and largesymphony orchestra is based on an implacable and vigorous marching rhythm. At firsttonal, the harmonies thicken and increase in dissonance. A central episode sungby a separate group of four sopranos and two contraltos, with the words ofRadot’s poem (see below, Song of Madness) over the vocalise of the rest of thefemale voices of the chorus, is of a more visionary character, but is takenover again by the initial nightmarish atmosphere, where the chorus singswordlessly, as at the beginning, rising again to a dramatic climax. Syncopationplays an important part in this work and the main 4/4 beat is occasionallybroken by the intervention of 2/4 or 3/4, in which dissonance brings asuggestion of chaos, an avant-garde element at the period. It seems ArthurHonegger would have loved this piece. Chant de Folie is scored for a large symphonyorchestra including percussion, glockenspiel and two harps. Song of Madness Deep night closes, the skies are red, and here they come blood-bespattered. Empty are their orbits darker than night. They march in rags, blindly staring, gashed and bruised are their faces. Their blood-stained arms extended they rush, in the dark, and groping they march towards the flaming sky-line, they forge ahead through the night, they shout aloud their song of madness. (Pasteur Vallery-Radot. English version by M.D.Calvocoressi, reprinted by permission of Editions Alphonse Leduc, Paris) Suite Elisabéthaine Ibert’s music for Shakespeare’s A Midsummer Night’s Dream,an interesting discovery, makes a worthy addition to the music for the play byMendelssohn. The composer compiled the suite from his score for a Marseillesperformance of the play in 1942. Four of its movements are neo-classicaladaptations of pieces by Elizabethan or post-Elizabethan English composers,John Blow (Prélude), John Bull (Entrée), Orlando Gibbons (Cortège) and HenryPurcell (Final). An additional English theme, the sound of Big Ben, ishumorously quoted in Dancerie. In the score it is written, for the first timeonly, as E-C-E-G instead of E-C-D-G, but the orchestral material has beencorrected by musicians who understood Ibert’s sense of humour. Furtherinvestigation shows a suspiciously Russian tune in the central episode of theFinale. The movements that have no earlier source are more romantic or modernin flavour and include, in Chanson des fées led by a soprano solo, andNocturne, a small vocalising women’s chorus. The whole suite is a virtuosomixture of styles, including that of the composer himself .The score calls fora larger woodwind chamber ensemble of two flutes, oboe, cor anglais, twoclarinets, bass clarinet, two bassoons, with three horns, three trumpets,trombone, percussion, harp, celesta and a small string ensemble of six violinsand three violas. Ibert’s Suite Elisabéthaine may take its place by the side ofother orchestral suites of the 1920s in ancient style, such as the AnticheDanze ed Arie of Respighi and Stravinsky’s Pulcinella. The Fairies’ Song You spotted snakes with double tongue, Thorny hedgehogs, be not seen, Newts and blind-worm, do no wrong, Come not near our fairy Queen. Weaving spiders, come not here, Hence, you long-legg’d spinners, hence, Beetles black, approach not near, Worm nor snail do not offence. Philomel with melody Sing in our sweet lullaby. Lulla, lulla, lullaby. Never harm Nor spell nor charm Come our lovely lady nigh. So good night, with lullaby. (William Shakespeare: A Midsummer Night’s Dream) Adriano (edited byKeith Anderson) Slovak Philharmonic Choir The Slovak Philharmonic Choir was formed in 1946 from the mixedchoir of Radio Bratislava and has performed, over the years, a wide repertoireof music, ranging from the earliest choral works to the work of contemporarycomposers. The Choir, since 1990 directed by Jan Rozehnal, has performed undersome of the most distinguished conductors, from Claudio Abbado and Lorin Maazelto Vaclav Talich and Yuri Temirkanov, and has appeared in concerts and festivalperformances throughout Europe, in addition to continuing collaboration withthe opera-houses of Vienna, Strasbourg, Szeged, Bordeaux and Düsseldorf.Recordings by the Choir include the oratorio The Legend of St. Elizabeth byLiszt for Hungaroton, awarded the Paris Grand Prix du Disque in 1974 andanumber of works for Naxos and Marco Polo. Slovak Radio Symphony Orchestra (Bratislava) The Slovak Radio Symphony Orchestra (Bratislava), the oldestsymphonic ensemble in Slovakia, was founded in 1929 at the instance of MilosRuppeldt and Oskar Nedbal, prominent personalities in the sphere of music.Ondrej Lenárd was appointed its conductor in 1970 and in 1977 itsconductor-in-chief, succeeded recently by Robert Stankowsky. The orchestra hasgiven successful concerts both at home and abroad, in Germany, Russia,Bulgaria, Denmark, France, Spain, Italy, Great Britain, Hong Kong and Japan.For Marco Polo the orchestra has recorded works by Glazunov, Glière, Miaskovskyand other late romantic composers and film music of Honegger, Bliss, Ibert andKhachaturian as well as several volumes of the label’s Johann Strauss Edition.Naxos recordings include symphonies and ballets by Tchaikovsky, and symphoniesby Berlioz and Saint-Saëns. Adriano Swiss-born Adriano began his artistic career in the field ofthe theatre and graphic arts. In music he is largely self-taught, and while stillin his twenties was urged by conductors such as Joseph Keilberth and ErnestAnsermet, who recognized his gifts, to embrace a conducting career. Instead hebecame a composer of stage, film and chamber music and also a record producerfor his own label, Adriano Recoeds. In the late 1970s he established himself asa specialist on Ottorino Respighi, organizing a comprehensive exhibition andpublishing a discography. He has also orchestrated two song-cycles by Respighi.Other instrumental adaptations by Adriano include songs by Mussorgsky andIbert. In recent years he has worked as an Italian and French language coachand stage assistant at the Zürich Opera House and its International OperaStudio. His work in the promotion of little known music includes an old Italianversion of Telemann’s opera Pimpinone, given its first performance in Italy in1987, and a theatrical prologue that he delivered himself for a production ofGaluppi’s II filosofo di campagna in Stuttgart in 1988. Adriano now worksregularly as a guest conductor with the Slovak Radio Symphony Orchestra ofBratislava, particularly in an important series of recordings of film music bymajor twentieth century composers for Marco Polo, for which he has alsodirected an acclaimed recording of film scores by Ibert. The present CD withconcert works by Ibert is Adriano’s twelfth recording for Marco Polo.
  • • 专辑列表
    • La Ballade de la Geole de Reading

      

      1: Part 1

      10:53

      2: Part 2

      07:52

      3: Part 3

      04:46

      3 pieces de Ballet (Les Rencontres)

      

      4: No. 1 Les Bouquetieres

      03:42

      5: No. 2 Les Creoles

      03:56

      6: No. 3 Les Bavardes

      02:34

      Feerique

      

      7: Feerique

      05:50

      Chant de Folie

      

      8: Chant de Folie

      04:16

      Suite Elisabethaine

      

      9: I. Prelude

      02:10

      10: II. Chasse

      00:55

      11: III. Entree

      02:38

      12: IV. Chanson des Fees

      03:38

      13: V. Dancerie

      03:26

      14: VI. Cortege

      01:19

      15: VII. Scherzo

      01:39

      16: VIII. Nocturne

      02:32

      17: IX. Finale

      03:54