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| [#9042] Walton's First Symphony 英國作曲家華爾頓和德國作曲家亨德密特結識於一九二三年的薩爾茲堡第一屆當代音樂國際協會上，一開始這段友誼並未帶來任何明顯的成果，直到他六年後完成了中提琴協奏曲，原準備交由英國中提琴家特第斯首演，不料卻為後者所拒，隨後在友人的好心轉介下，這首協奏曲輾轉到了同為中提琴家的亨德密特手中，亨氏更立即答應為其首演，並且大方地帶著此曲到世界各地去演出。華爾頓從此對亨氏心存感激，再加上在二次大戰後，新一代音列主義作曲家崛起，亨氏和他自己都被視為跟不上潮流的反動者，更促進兩人之間惺惺相惜之情，所以當一九六三年為慶祝皇家愛樂協會成立一百五十週年紀念，向他委託新作時，乃答應以一首亨氏大提琴協奏曲中的主題為他所寫變奏曲的主題，結果就是這首獻給亨氏夫婦的變奏曲。此曲日後也成為近代管絃音樂的代表作。 華爾頓的第一號交響曲則要更早完成，這是一九三零年代的創作，當時他剛因為寫作清唱劇「貝沙撒的盛宴」享譽國際，隨後這部交響曲整整花了他三年的時間才完成，但一問世即受到極好的評價。這首交響曲其實是一次失落戀情的紀錄，因為在完成這首交響曲的三年期間，華爾頓遭遇了與同居女友的熱戀到分手乃至齟齬相對的過程，而這些情緒就反映在曲中各樂章的標題「惡意相向」、「感傷」等指示。而在樂曲的終樂章華爾頓則又因結識了新歡而重燃熱情，因此以一道非常有力的賦格作結束。然而，即使不瞭解這些故事，這首交響曲所呈現的出色管絃樂法和對於交響曲式的掌握能力，也堪為二十世紀偉大交響曲傑作之一。  |
george1977 正式會員222.xxx.xxx.52 |
2008-08-24 08:27 | |
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| [#9043] Walton's 生平簡介： 威廉沃爾頓（William Walton，1902—1983年），英國作曲家。1902年8月29日生於蘭開夏郡的奧爾德姆，1983年3月8日卒於伊斯基亞島。1912年入牛津大教堂合唱學院，主要依靠自學掌握了作曲理論。他的音樂繼承了浪漫主義傳統，同時吸取各種現代手法。早期作品如《門面》(1922)、為英國女作家E．西特韋爾的詩歌作朗誦配樂(后改編成兩首管弦樂組曲)以及管弦樂序曲《朴次茅斯角》(1925)等，受到音樂界好評。從20年代末創作《中提琴協奏曲》開始，風格日趨成熟，長於抒情、幽默，技巧熟練。特別是30年代的幾部作品，如清唱劇《伯沙撒王的宴會》(1931，歌詞內容選自《聖經》)、《第一交響曲》(1935)、《小提琴協奏曲》(1939)等，進一步確立了他作為英國重要作曲家的地位。40年代以后，創作數量不多，重要作品有歌劇《特洛伊羅斯與克瑞西達》(1954)、《大提琴協奏曲》(1956)、《第二交響曲》(1960)等。此外，他為電影譜寫的音樂，如根據莎士比亞原著改編的《亨利五世》(1944)、《哈姆雷特》(1947)等，亦獲得很大成央C http://tw.knowledge.yahoo.com/question/question?qid=1008011410116 http://en.wikipedia.org/wiki/William_Walton  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-24 08:32 |
| [#9044] Walton's Cello Concerto William WALTON (1902-1983) Cello Concerto * [24’03"] The Twelve** [12’13"] Coronation Te Deum*** [10’25"] Variations on a Theme by Hindemith**** [23’04"] Fa蓷de: excerpts from Suites 1 & 2***** [8’41"] *Pierre Fournier (cello); Royal Philharmonic Orchestra ** Ann Dowdall (sop); Shirley Minty (contralto); Robert Tear (ten); Michael Wakeham (bar); London Philharmonic Choir and Orchestra ***London Philharmonic Choir and Orchestra ****Royal Philharmonic Orchestra *****BBC Symphony Orchestra Conducted by William Walton Recordings: *Usher Hall, Edinburgh, 23 August 1959; ** and ***Westminster Abbey, London, 2 January 1966; ****Royal Festival Hall, London, 8 March 1963; *****Royal Albert Hall, London, 20 August 1968 BBC Legends BBCL 4098-2 [79’05"] This is one of a pair of CDs issued by BBC Legends to mark the Walton centenary and it is invaluable on several counts. Walton made many recordings of his music, including most of his major works. However, with the exception of the four numbers from Fa蓷de, none of the works on this disc were otherwise recorded by him. Furthermore, we have here a recording of the world premiere of the Hindemith Variations, a performance of the Cello Concerto by Pierre Fournier who, so far as I am aware, never made a commercial recording of the work and, finally, a rarity in the form of the orchestral version of The Twelve which, I believe, is not otherwise available in this form. So, this is a mouth-watering prospect for Walton aficionados. I don’t know why the Hindemith Variations aren’t heard more often for they are masterly. The variations are concise, resourceful and witty. They contain many of the characteristics of Walton’s style and some traces of Hindemith’s style too (I’m thinking especially of Variation 5 (Track 11)). The piece could be said to repay a thirty four year-old debt for Walton never forgot the fact that Hindemith rescued the premi鋨e of his Viola Concerto in 1929 by taking on the solo role at short notice and the two men were friends thereafter. Walton based his variations on a theme from the second movement of Hindemith’s Cello Concerto (1940). Furthermore he weaves a direct quotation of four bars from Hindemith’s opera, Mathis der Maler into the seventh variation (Track 13, 2’36"). Readers will have gathered that, sensibly, each variation is tracked separately. I deliberately decided not to compare this performance with the great recording of the piece made in 1964 by George Szell and the Cleveland Orchestra. It seemed to me that it would be unfair to compare an account by a virtuoso orchestra which had played the piece several times with a recording of the very first performance of the work. In fact, Walton and his players need not fear comparisons for theirs is a fluent, confident and assured performance of the work. The players sound completely inside the piece and Walton’s direction is as authoritative as one might expect. Whilst Szell’s account retains its supremacy, I think, this is a notable addition not just to Walton’s discography but also to that of the work itself. The same is true of the performance of the Cello Concerto. This work was written in 1956 for Gregor Piatigorsky and he gave the first performance in Boston in January 1957 with the Boston Symphony Orchestra under Charles Munch. Just a few weeks later these same artists made the first recording which remains a benchmark account. The present performance was given just two years later, presumably at the Edinburgh Festival. Fascinatingly, this is a much fleeter account than Piatigorsky’s. Indeed, Fournier and Walton take over five minutes less (interestingly, the score quotes a duration of approximately 27 minutes.). The differences come in the outer, predominantly slower, movements where Piatigorsky is passionately romantic while Fournier tends to be more patrician and restrained, though he certainly does not play down the mood of gentle nostalgia which prevails in much of the work. Where the music is more reflective Fournier’s cello sings out eloquently and throughout he is poised and refined. I think Piatigorsky perhaps has a slight edge in the quicker moments and to my ears he displays a degree of greater urgency in the two cadenza passages of the finale, particularly the first of these. It is worth pointing out that Fournier is balanced quite closely and this does mean that some details of the accompaniment are lost, especially where the orchestra is playing quietly. The Boston players can be heard to much better advantage (under studio conditions, of course) and they do play the score magnificently. However, the RPO are also diligent accompanists. There are no blemishes of the sort that occurred in the performance of Walton’s First Symphony from the same concert, which has been issued on a companion CD (BBC Legends BBCL 4097-2). Perhaps more rehearsal time had been devoted to the concerto? This Fournier/Walton performance is an excellent one. As I’ve indicated, there are many points of contrast between this and the Piatigorsky/Munch account. Both strike me as very convincing traversals of the score and we’re lucky that we now have both to savour. The two choral works on the disc both come from the same concert which was given to mark the 900th anniversary of the foundation of Westminster Abbey. For this occasion Walton orchestrated his anthem, The Twelve, which had been written the year before for his old Oxford college, Christ Church, and first performed there with the original organ accompaniment only a few months before this Westminster concert. I must confess I had no idea an orchestral version existed. It is mighty effective and should be better known. Here the piece receives a good, committed performance. The only snag is that (as usual) BBC Legends stubbornly refuse to provide the text. This is a definite drawback since Auden’s words are far from straightforward and though the singers’ diction is pretty good one really needs to be able to follow the text to appreciate the work fully. The other work from the Abbey concert is the Coronation Te Deum. This is a really splendid piece, I think, one of Walton’s best choral pieces. It is performed magnificently here with a full-throated contribution from the excellent choir who are balanced very well with the orchestra. With the full panoply of the brass conferring a ceremonial grandeur appropriate to the setting and the occasion, this is a thrilling performance. How splendid it is to have such a fine recording of Walton directing the work in the very building where it was first heard thirteen years earlier. To complete the disc there are four excerpts from Fa蓷de, obviously taken from a Promenade concert. Three of them (‘Popular Song’; ‘Old Sir Faulk’; and ‘Tarantella-Sevillana’) come from Suite No 2 while ‘Tango-Pasodoble’ is from the first suite. They receive sprightly and enthusiastic performances from the BBC Symphony Orchestra who sound to be enjoying themselves. From the reaction at the end, it’s obvious that the Promenaders did. This is an invaluable disc. It is just the sort of issue that make the BBC Legends series so important. All the performances are very good and the sound quality is perfectly satisfactory (though that of the Cello Concerto does show its age a bit). The notes are by Lyndon Jenkins. They are good but it is slightly cheeseparing, I think, to have used the same essay for both of these Walton issues with just a very brief paragraph about each work However, that small quibble doesn’t detract in the least from the significance of this issue. It is of the utmost importance as an addition to the Walton discography and I recommend it urgently to all admirers of this fine composer. John Quinn http://www.musicweb-international.com/classrev/2002/Sept02/Walton_Concert.htm  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-24 08:41 |
| [#9045] Walton at Oxford 牛津大教堂合唱學院 ＞ ? |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-24 08:59 |
| [#9046] Walton at Oxford 牛津大教堂合唱學院 ＞ ------------------------------------------------- Trollope I found that it should be " Christ Church of the University of Oxford" he studied, information provided by wikipedia! "Walton was born into a musical family,[1] in Oldham, Lancashire, England.[2] At the age of ten, Walton was accepted as a chorister at Christ Church Cathedral in Oxford, and he subsequently entered Christ Church of the University of Oxford as an undergraduate at the unusually early age of sixteen[3]. He was largely self-taught as a composer (poring over new scores in the Ellis Library, notably those by Stravinsky, Debussy, Sibelius and Roussel), but received some tutelage from Hugh Allen, the cathedral organist.[4] At Oxford Walton befriended two poets — Sacheverell Sitwell and Siegfried Sassoon — who would prove influential in publicizing his music." http://en.wikipedia.org/wiki/William_Walton http://en.wikipedia.org/wiki/Christ_Church,_Oxford george1977  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-24 09:56 |
| [#9047] Walton at Oxford Christ Church 是 church 也是牛津是一間學院 一般不稱為 Christ Church College 只叫 Christ Church ** Walton 沒有畢業 因為有一科肥佬 名人在牛津不能完成學業的 立刻想到的有 Dr Johnson (窮 退學) Shelley (發布宗教異端 踢出校) |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-24 10:15 |
| [#9048] Walton at Oxford 也是牛津 "是" 一間學院 ＞ 的 ** Walton 在牛津認識了 Sitwell 等一伙怪雞人物 不枉一場 |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-24 10:18 |
| [#9049] Walton at Oxford Trollope I had visited Christ Church twice during my stay in England, really impressed of its gorgeous library (led by a friend who studied there) and its Cathedral choir. I was however much more impressive of a name list of students on a Marble walls in the cathedral entrance, who laid down one's life for UK during the two world wars. Surely its famous choir was not to be missed if you could encounter their Sunday service or in other festival.Throughout its history, the Choir has attracted many distinguished composers and organists - from its first director, John Taverner, appointed by Cardinal Wolsey in 1526, to William Walton. William Walton was also heavily influenced by a bunch of 20th century composers such as Stravinsky, Gershwin and Hindemith and remained their friends in his lifetime. Who is Sitwell ? Please enlighten me! George1977  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-24 10:39 |
| [#9050] Walton at Oxford Who is Sitwell ? Please enlighten me! ＞ "Anthony Collins's 1954 [sic] recording of Façade is a gramophone classic, sounding miraculously vivid and atmospheric in a CD transfer that seems almost like modern stereo. Dame Edith Sitwell had one of the richest, most characerful of speaking voices and here she recites her early poems to the masterly, witty music of the youthful Walton with glorious relish. Peter Pears is splendid too in the fast poems, rattling off the lines like the grande dame herself, to demonstrate how near-nonsense can be pure poetry." (Penguin Guide, 1990) When this 1953 recording of Façade first appeared in 1954, it was accompanied by an introduction by Dame Edith Sitwell: "Façade was first performed privately at my brother's house in Carlyle Square, Chelsea, in the winter of 1922 ... At the time when Façade was written, Sir William Walton was sharing a house with my brothers, so he and I worked, it might be said, together, and he, my brothers and I, discussed the work together in all its stages."  |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-24 12:40 |
| [#9051] Taverner at Christ Church ... the Choir has attracted many distinguished composers and organists - from its first director, John Taverner, appointed by Cardinal Wolsey in 1526, to William Walton. ＞ The present choir consists of the same distribution of voices as it did in Taverner's time: there are 16 boys and 12 men. Recorded in May 1989, released in 1990.  |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-24 12:45 |
| [#9052] Taverner at Christ Church Trollope What a pity that Nimbus, an unique record company with superb engineering and special coverage of unfamilar works, no longer releases this kind of underrated choral CD. Thanks for your edification about Sitwells trio. English composers never placed a bigger stamp in my head than Edward Elgar (my first encounter with Elgar was in 1999 when I firstly heard a live concert of George Hurst conducting National Welsh BBC Symphony Orchestra to play Enigma Variations at St David Hall Cardiff) and Holst. I will keep explore the choral work of William Walton and Henry V really triggered my seldom passion of Shakespeare masterpieces and Walton's underrated works. George1977 |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-24 13:09 |
| [#9053] Taverner at Christ Church This one's for Eric. Just bought this second-hand, for the rare Op 4 sonata for cello and piano (this performance of the solo sonata is controversial), which received an excellent performance.  |
doctorjohn 正式會員 218.xxx.xxx.117 |
2008-08-24 18:50 |
| [#9054] Taverner at Christ Church DJ: Did you get any copies of The Music Lover mag in China? |
classicalkan 正式會員 218.xxx.xxx.93 |
2008-08-24 18:52 |
| [#9055] Taverner at Christ Church No, I totally forgot! You didn't make it? You were right, I found someone selling a real 171/180 to=icket for 150! |
doctorjohn 正式會員 218.xxx.xxx.117 |
2008-08-24 19:13 |
| [#9056] Taverner at Christ Church DJ: I have rung Mr. Lam but he said he had sold the ticket to another guy already, thanks anyway. classicakan |
classicalkan 正式會員 218.xxx.xxx.93 |
2008-08-24 21:10 |
| [#9057] Francescatti 在 SONY Masterworks Heritage Sony Masterworks Heritage系列也發行過法國小提琴家 Zino Francescatti (1902-1991）的協奏曲名盤。2CD仍採紙片裝，解說書有每首錄音的LP封面，另收錄Francescatti 與 Dimitris Mitropoulos (1896-1960）、Eugene Ormandy (1899-1985）的合影，以及紐約著名樂評家 Harris Goldsmith 所撰寫 Francescatti的其人其事。 然而，這套唱片的完整度仍不夠，Francescatti的帕格尼尼第一號小提琴協奏曲並沒有被收錄。其實，CBS仍有釵h寶藏待開發，可惜的是，目前母公司 SONY/BMG 只著重於幾位像 Glenn Gould 這樣的名家，令人相當遺憾。  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-26 06:56 |
| [#9058] 鄧泰山的蕭邦協奏曲錄音 Booklet 內頁附有Dang Thai Son (鄧泰山)和 Franz Bruggen 演奏時的合影（見下圖），以及1849年製古鋼琴的照片。CD的外殼採環保 sleeve 包裝。  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-26 06:59 |
| [#9059] 鄧泰山的蕭邦協奏曲錄音 蕭邦鋼琴大賽的金牌得主鄧泰山（1958-）與古樂派大將Frans Brggen (1934-）合作的蕭邦鋼琴協奏曲第1、2號錄音，幾經波折終於到手，此碟由Narodwy Instytut Fryderyka Chopin（簡稱NIFC，波蘭國立蕭邦協會，據說有意在2010年以前發行蕭邦大全集）。這張專輯本身就充滿話題性，尤其是聽1849年製古鋼琴演奏蕭邦作品，外加古樂器伴奏的新鮮感，若要挑剔，只能說琴音少掉鋼琴該有的光澤。  |
george1977 正式會員 222.xxx.xxx.52 |
2008-08-26 07:17 |
| [#9060] Edith Sitwell's Notebook on Shakespeare Hello George, Who is Sitwell ? Please enlighten me! ＞ I guess you have read the entry in Wikipedia. But her "A Notebook on William Shakespear", which I rather enjoy, isn't mentioned there. Well, I am not surprised, as the book is very rare (London: Macmillan, 1965; first published 1948).  |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-28 00:34 |
| [#9061] Sitwell's lookalike .  |
Trollope 正式會員 202.xxx.xxx.237 |
2008-08-28 00:39 |
