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ZEMLINSKY, Alexander von (1871–1942)
(i) Cymbeline (incidental music); (ii) Lyrische Symphonie, Op. 18 (i)《辛白林》配乐；(ii)《抒情交响曲》，作品18
Chan. 10069. Czech PO, Beaumont, with (i) Brezina, Bremen Shakespeare Company (members); (ii) Karlsen, Grundheber
Along with Die Seejungfrau, the Lyric Symphony is the most performed and recorded of Zemlinsky’s works, but this Czech recording has a special claim to attention in that it is based on a new critical edition of the score by Antony Beaumont himself. This clears up the odd engravers’ and copyists’ errors and expunges a few cymbal crashes which Zemlinsky himself removed during rehearsals. Textual matters aside, this performance is very fine indeed and, in the Norwegian soprano Turid Karlsen and Franz Grundheber, it has dedicated soloists. The incidental music to Cymbeline makes an attractive coupling, also edited by the conductor. Scored for full-scale orchestra, including triple wind, harp, harmonium, celesta and a substantial array of off-stage instruments, it is full of resonance and inventive sonorities. It makes a good introduction to the composer and, like the Symphonie, is very well recorded.
与《人鱼》并列为策姆林斯基最常上演与录音的作品，《抒情交响曲》此番捷克录音因采用安东尼·博蒙特亲自校订的新学术评注版乐谱而独具价值。该版本修正了刻版师与抄谱员的讹误，并删除了作曲家本人在排练过程中移除的若干钹声。抛开文本考据，这场演绎本身极其出色——挪威女高音图里德·卡尔森与男中音弗朗兹·格伦德赫伯倾情献声。《辛白林》配乐作为附加曲目同样由指挥家编辑整理，其配器囊括三管编制乐队、竖琴、簧风琴、钢片琴及大量幕后乐器，充满共鸣效果与创新音响，堪称认识作曲家的绝佳入门。两部作品录音俱佳。
Choral Music: (i) Aurikelchen; (ii–iii) Frühlingsbegräbnis; (i) Frühlingsglaube; Geheimnis; Minnelied; (i; iv) Hochzeitgesang; (ii) Psalms 13, 23 & 83. Orchestral Lieder: (v) 2 Gesänge (for baritone & orchestra); (vi) 6 Maeterlinck Gesänge, Op. 13; (vii) Maiblumen blühten überall; (viii) Symphonische Gesänge, Op. 20; (vii) Waldgespräch. 合唱作品：(i)《小报春花》；(ii–iii)《春日葬礼》；(i)《春之信念》；《秘密》；《恋歌》；(i; iv)《婚庆颂》；(ii)《诗篇》第13、23、83篇。管弦乐艺术歌曲：(v)男中音与乐队《两首歌曲》；(vi)《梅特林克歌曲六首》，作品13；(vii)《五月花开处处》；(viii)《交响歌曲》，作品20；(vii)《林中对话》
EMI Gemini 5 86079-2 (2). (i) Mülheimer Kantorei; (ii) Düsseldorf State Musikvereins Ch.; (iii) with Voigt, Albert; (iv) Blum; (v) Schmidt; (vi) Urmana; (vii) Isokoski; (viii) Volle; Gürzenich O & Cologne PO, Conlon
The major choral works here are Zemlinsky’s passionate and intense settings of the three Psalms. In a manner recognizable from his operas, the first two bring sensuous writing more apt for the Song of Solomon than the Psalms; the third (LXXXIII) brings dramatic martial music. Those three items as well as the cantata, The Burial of Spring, in seven compact movments, were recorded live in Cologne and bring warm, committed performances under Conlon as a dedicated Zemlinsky interpreter. The other, lighter items were recorded later in the studio.
The two major solo works are both for soprano: Waldgespräch an Eichendorff/Loreley ballad, accompanied by a pair of horns, harp and strings, and Maiblumen blühten überall, inspired by Schoenberg’s Verklaerte Nacht and supported no less alluringly by a string sextet. Soile Isokoski responds with passion to both works, and Andreas Schmidt is no less responsive in the Zwei Gesänge, orchestrated by Antony Beaumont, both very Wagnerian in feeling. Michael Volle proves boldly dramatic in the Symphonische Gesänge, and if Violeta Urmana is less than ideally seductive in the Maeterlinck cycle, as always with Zemlinsky the orchestral sounds are as luscious as ever, with Conlon a splendidly supportive accompanist; and translations are included.
核心合唱作品当属策姆林斯基以炽烈激情谱写的三首《诗篇》。前两首延续其歌剧中的感官笔触，其香艳气质更贴近《雅歌》而非《诗篇》；第三首（第83篇）则迸发戏剧性的战争音画。这三部作品与七乐章康塔塔《春日葬礼》均科隆现场实况录音，由策姆林斯基诠释专家詹姆斯·康伦执棒，演绎温暖而投入。其余轻量级曲目为后期录音室补录。
重要独唱作品均為女高音而作：《林中对话》取材艾兴多夫/罗蕾莱叙事诗，以双圆号、竖琴与弦乐伴奏；《五月花开处处》受勋伯格《升华之夜》启发，由弦乐六重奏铺陈迷人音景。索伊莱·伊索科斯基以激情诠释两作，安德烈亚斯·施密特在博蒙特配器的《两首歌曲》中同样出色，二者皆具瓦格纳式浓烈情感。迈克尔·沃勒在《交响歌曲》中展现雄浑戏剧张力，虽乌尔玛娜在《梅特林克套曲》中诱惑力稍欠，但策姆林斯基笔下管弦乐音响始终丰美如初，康伦的伴奏支撑无懈可击。内附歌词译文。
https://115cdn.com/s/swwrqde3hq9?password=3377&#
Zemlinsky, Alexander - Complete Choral Works - James Conlon [Warner]等3个文件(夹)
EMI双张没找到，找到两张单碟，曲目一致。
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发表于 2025-5-29 10:33
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