JANACEK: Danube / Moravian Dances / Suite Op. 3_音乐专辑
JANACEK: Danube / Moravian Dances / Suite Op. 3
又名: 亚纳切克：多瑙河音诗、摩拉维亚舞曲、第三组曲、戏剧配乐－史卢克与雅乌
表演者: Slovak Philharmonic Orchestra/Libor Pesek/Jana Valaskova/Zdenek Husek
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2002
唱片数: 1
出版者: Naxos
条形码: 0747313524525
专辑简介
In March 1923 Janacek visited Bratislava to hear the first performance of his opera Kát’a Kabanová. It was during the days he spent in the capital of Slovakia that he resolved to write a symphonic poem on the Danube, a river that he regarded as Slav, passing as it did through four Slav states. For such a project Smetana had provided a precedent in his Vltava, linking episodes in the history of his country. Janacek, however, was to treat the subject in his own idiosyncratic way, representing the Danube, according to his pupil Osvald Chlubna, as a woman with all her passions and instincts. At Janacek’s death in 1928 sketches for four movements of what might have been intended as a five-movement symphonic poem were found, and these were later arranged by Osvald Chlubna, who had studied with Janacek in Brno, and have hitherto been known in that version. The present recording returns to the original, orchestrated sketch of the work, transcribed, and adjusted, where necessary by Leo Faltus, Milan ?t?droà and Otakar Trhlik. The first movement is based on the poem Lola by Alexander Insarov, the story of a prostitute who passes from a life of pleasure and gaiety to a search for her lost palace and final destitution, cold and hungry. To this Janacek added his own ending, as Lola drowns herself in the river. The second movement, possibly the first to be written, takes as its source a poem The Drowned Girl by Pavla KTí?ková. Here again a young girl, observed by a strange boy as she bathes, throws herself into the river and drowns. As so often in Janacek’s music, melodic outlines are suggested by the intonation and rhythm of words, the viola motif, imitated by instrument after instrument, an accurate embodiment of the line: "But an hour had passed since he saw her." A scherzo movement follows, perhaps a representation of Vienna, introducing a soprano vocalise. It leads to a tragic and intense fourth movement, the drowning motif that had been heard in the second movement now re-appearing in a clarinet version, marking Lola’s final despair before the abruptly dramatic conclusion.
In May 1928 Janacek was invited by the director of the Berlin Renaissance Theatre, Gustav Hartung, to write incidental music for the play Schluck und Jau by Gerhardt Hauptmann for a summer festival production at Heidelberg Castle. Hauptmann’s play, written in 1898, was based on the Induction of Shakespeare’s The Taming of the Shrew, in which the drunken tinker Christopher Sly is deceived into believing himself a lord, his earlier life only a fit of lunacy. In Schluck und Jau, the tramp Jau, in a drunken stupor, is dressed as a duke to receive due honour when he wakes up, while his companion Schluck is induced to dress up as his duchess, for the amusement of the real Duke and Duchess. Hauptmann described the work as a Scherzspiel in sechs Vorg?ngen, these six events representing a considerable expansion of Shakespeare’s brief prologue.
Janacek was not enthusiastic about the undertaking. He complained that he had been given too short notice, and he found much to criticise in the play itself. Yet finally, it seems, he was attracted by the character of Jau, completing first the scene in which Jau wakes as a duke, the second of the two extracts included in the present recording. Four pieces were written of what was intended to be a very much fuller undertaking, involving interludes and accompaniment for dancers. Of these the second provided fanfares probably for use at various points in the play, while the fourth is no more than a brief fragment. The first piece, marked Andante, seems likely to have been intended as an introduction, with a suggestion in its opening of the huntsman’s horn. Hartung’s production of Schluck und Jau, which had the co-operation of the playwright, eventually used music arranged from the works of Smetana.
Janacek had a fundamental interest in the folk-music of his native Moravia, on which he was considered a major authority. His interest manifested itself in editions of Moravian folk-music and in a number of arrangements of songs and dances. The five dances, opening with a Ko?ich, a fur-coat dance, are characteristic in melodic contour and rhythm of the music of East Moravia.
Janacek’s Suite for Orchestra, Opus 3, was completed in January 1891, but not performed until after the composer’s death, in September 1928. At the time of its composition Janacek was working on his opera The Beginning of a Romance, which was first performed in Brno in 1894, but later partly destroyed by the composer. The Suite, which originally had the title Piece for Orchestra, makes use of thematic material from the opera. The first of the four movements uses three such themes from The Beginning of a Romance, with the second, an Adagio, using a characteristically Moravian melody that re-appears in a number of his other compositions. The third movement is an expanded version of one of his Lachian Dances, and the last a Moravian marching dance.
曲目
Danube, JW IX/7 (Symphonic Poem)
1. I. Andante 00:03:45
2. II. Adagio 00:05:35
3. III. Allegro 00:03:10
4. IV. Vivo 00:04:40
Incidental Music to Schluck und Jau, JW IX/11
5. I. Andante 00:04:24
6. II. Allegretto 00:04:52
Moravian Dances, JW VI/7
7. I. Kozich 00:03:00
8. II. Kalamajka 00:00:59
9. III. Trojky 00:01:19
10. IV. Silnice 00:02:03
11. V. Rozek 00:01:33
Suite, Op. 3, JW VI/6
12. I. Con moto 00:02:42
13. II. Adagio 00:05:34
14. III. Allegretto 00:02:25
15. IV. Con moto, allegro 00:02:36
Total Playing Time: 00:48:37
