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4无损音乐格式古典音乐冷门 - Hyperion梅特纳(1880-1951) 童话(2CD)
Nikolai Medtner (1880-1951) 尼古拉斯·卡洛维奇·梅特纳
Skazki (The Complete) 童话
Hamish Milne (piano)
CDA67491/2 (http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67491/2)
Digital booklet (PDF)
Recording details: October 2006
Henry Wood Hall, London, United Kingdom
Produced by Jeremy Hayes
Engineered by Tony Faulkner
Release date: April 2007
Total duration: 155 minutes 47 seconds
尼古拉斯·卡洛维奇·梅特纳(Nicolas Karlovich Medtner, 1880.1.5-1951.11.13)
说到俄罗斯作曲家，一般人会想到柴可夫斯基、拉赫玛尼诺夫、斯特拉文斯基、肖斯塔科维奇等大名家，但是，梅特纳这个名字大概是鲜为人知的。事实上，梅特纳一直都是俄罗斯最有影响力的作曲家，在俄罗斯境内可谓家喻户晓，有“俄罗斯的勃拉姆斯”之称。与斯克里亚宾、拉赫玛尼诺夫一样，他们都是俄罗斯菁英份子所迷恋和崇拜的对象，被视为俄罗斯在二十世纪的新希望。
尼古拉斯·卡洛维奇·梅特纳（又译“梅特涅尔”），俄罗斯作曲家、钢琴家。1880年 1月 5日生于莫斯科，他的先祖是德国人，约在18世纪初乔迁至俄国。 1892年入莫斯科音乐学院，阿连斯基与塔涅耶夫的学生，从萨福诺夫学钢琴，从塔涅耶夫和阿连斯基学作曲。1900年在钢琴专业毕业。同年在鲁宾斯坦钢琴比赛会上获奖。此后经常开音乐会，演奏古典作曲家和自己的作品。1918-1921年任莫斯科音乐学院教授。1921年离开前苏联，寓居法国、德国，以钢琴家身份巡回演出，1927年曾回国举行音乐会。1936年定居英国。1951年11月13日卒于伦敦。
梅特纳除了是个擅长写美妙旋律的作曲家，也是个技术高超的钢琴家与音乐美学家，留有录音及相关着作。他纵横的才气赢得了同行福特万格勒、库塞维斯基、普罗科菲耶夫的高度推崇。在他的作品中有许多复杂的因素，有德意志的根源，也有俄罗斯的灵魂与气质，对新音乐时代风格的追求与明显的保守趋势。他的创作领域主要在钢琴音乐方面，重要作品有：三部钢琴协奏曲、十六首钢琴奏鸣曲（常标以“童话奏鸣曲”、“叙事奏鸣曲”、“悲歌奏鸣曲”等名称）、十套标题为《童话》、三套标题为《被遗忘的旋律》的钢琴曲、一部钢琴五重奏、三首小提琴与钢琴奏鸣曲，百余首用歌德、普希金等诗词谱写的浪漫曲和歌曲等。他的创作特征是：乐思凝练，感情克制，旋律优美，结构严谨。
梅特纳对音乐史和音乐体裁史最大的贡献是创立了钢琴抒情-叙事性小品体裁“童话”（Skazki，英文叫做“Fairy Tales”），他的一生都未间断对这一体裁的钢琴音乐创作。为浪漫主义钢琴小品体裁增加了新的类型。梅特纳的创作观受古典主义和浪漫主义音乐很大影响，音乐具有明确的文学性含义。德国和俄罗斯两种传统文化、德国古典、浪漫派作曲家和俄罗斯古典传统音乐在梅特涅尔的创作中都有明确的体现。这些都反映在他的“童话”作品中。
“钢琴童话”是由梅特纳首创的钢琴体裁，“童话”一词在俄文中写作为“Skazki”，译为传说、故事；后来在作曲家访问美国之后为了吸引当地的听众，使他们易于接受自己的作品，梅特纳听取了妻子的意思，将“Skazki”改为英文的“Fairy Tales”以便于商业运作。而“Fairy tales”一词在英语文献中翻译为“童话”，这不免给后人一些误读，导致听众及一些演奏者会根据作品中的标题来解读作品，必然会产生一些误读。“Fairy”一词在英文中译为“仙女、小仙子、小精灵”，而这个词放在俄罗斯民间文学环境下我们可发现很少涉及到仙女这一题材，反之，一些反面的角色如巫师、恶魔等经常会在俄罗斯民间文学中出现。从作曲家全部童话作品的取材上来看，作品中的幻想性质会比较浓厚一些，近似于浪漫派的幻想曲题材的音乐内涵，不同的是梅特纳将它们大多取自于现实主义文学，作品中描述的不是某一文学形象，而是人的内心世界及其情感斗争和体验。“童话”这一题材类似于浪漫主义产生的钢琴小品，如无词歌、即兴曲、幻想曲、叙事曲，其中它和叙事曲的共同点都是取材于民间故事和传说，梅特纳创作的童话往往灵感来源于普希金、歌德文学作品。
梅特纳的38 首钢琴童话是在1905 至1932 年间完成的，此时正值西方音乐发展中流派众多、风格迥异的变化、多元时期。梅特纳在创作中没有受到现代音乐思潮和众多新音乐风格的影响，而仍然的保守着独特的浪漫主义音乐风格特征。梅特纳在创作上和勃拉姆斯有某种理念上的相似之处，即在音乐创作中，不为了技巧而表现技巧，但往往在音乐作品中有包含了高深的作曲技巧；曲式结构上大多采用偏向传统的形式；音乐中充满深刻的哲思，创作受文学影响较大。在梅特纳音乐作品的构思和写作中不难发现其中有很多巧用创作心机的地方，如在旋律声部构思精妙的同时，又能够在旋律上给人哲思和深刻的印象。他的创作风格对于20 世纪音乐来说是保守的，集浪漫主义、德国文化、古典性思维和俄罗斯民族性于一身的梅特纳，在钢琴作品中并不像拉赫玛尼诺夫、柴可夫斯基等人在旋律的写作上有着典型的俄罗斯民族特点，尤其是他的旋律在感官上没有浓郁的色彩与情感的刻画，在作品中大部分居多的是理性、深刻与哲思。
梅特纳写了约38首标题为“童话”的钢琴作品，这些“童话”大部分均为单主题贯穿全曲或使用不同主题通过对位法的结合，鲜明地描述了文学童话与民间传说形象、现实社会形象、世界文学形象、英雄动机形象、宗教形象以及其他形象。 其风格可根据其创作阶段分为：
梅特纳一生写了38 首钢琴童话作品，它们创作于20 世纪，但却具有着典型的浪漫主义特征。其中梅特纳钢琴童话的创作风格与特征，可将它们大致分为以下三个时期：1、1905-1907 为创作早期，作品以抒情性、叙事性特征为主，代表作品有op.8、op.9、op.14，共7 首；2、1907 到1917 十年的时间为创作中期，作品中充满着强烈的悲剧性和幻想性，代表作有op.20、op.26、op.34、op.35 共四集16 首；3、创作晚期为1921 到1931 年，op.42、op.48、op.51、op.54，共15 首。晚期的钢琴童话具有典型的舞曲性质和抒情性特征。《两首童话》op. 20 创作于1909 年，包含两首作品，该作品是他创作中期的代表作，也是他担任莫斯科音乐学院的钢琴教授时期的作品。其中第一首（op.20,no.1）曾多次被公开演奏，并获得拉赫玛尼诺夫的赞赏。这两首作品在音乐风格上分别从不同的侧面体现了梅特纳创作中期的悲剧性特征，其中第一首用降b小调写成，乐曲没有明显的标题，音乐情绪表现的是痛苦的迸发，梅特纳的《降b 小调童话》可以说是一首兼具浪漫主义和古典主义同时又具有典型的俄罗斯民族风格的钢琴小品；第二首为b 小调童话，乐曲开始处作曲家用“钟”来给首作品命名，这也是作曲家最古典主义风格的一首作品，他用sempre al rigore di tempo 来标记，意思是要一直地保持严格的速度，乐曲中的“钟声音型”贯穿全曲，形成一种阴森、恐怖、充满危险的感觉。
梅特纳是浪漫主义晚期的俄罗斯作曲家，他的贡献以及作曲水准绝不在同时代的俄罗斯作曲家之下，只不过随着历史的变迁，他的作品慢慢的被尘封，但在浩如烟海的钢琴文献中，他的钢琴作品有着独树一帜的音乐风格特点，至今仍有部分作品经常出现在世界钢琴演奏的舞台上，而且它们有着很大的教学价值。梅特纳不是一个善于表现和张扬的作曲家，其作品中融“哲思性和浪漫古典于一体”的特征与勃拉姆斯有共通之处，但他作品的价值尚有待于人们去发掘，他的音乐精神值得人们发扬，他的钢琴作品更是值得人们品读和演奏。
This is a magnificent and important set.
Notwithstanding the current revival of interest in Medtner (in which Hyperion has played no small part) the complete Skazki have never been recorded together, and some of the pieces here are receiving their long overdue first recordings. The Skazki (‘M?rchen’ in German; ‘Contes’ in French; the incorrect ‘Fairy Tales’ in English) were the most personal of Medtner’s idioms and contain his most immediately appealing music: they are miniature tone poems full of atmosphere and colour and are arguably the most neglected ‘great’ piano music in the repertoire.
Medtner has been central to Hamish Milne’s repertoire since the 1970s—he has already recorded eight CDs of the composer’s music—and no one has a finer grasp of the subtle sound world of these works. Hamish has here surpassed himself in a recording which is also graced with superlative piano sound. These CDs are sure to be regarded as definitive for many years to come.
Awards
GRAMOPHONE AWARD NOMINATION - INSTRUMENTAL
BBC MUSIC MAGAZINE CHOICE
HELSINGIN SANNOMAT DISC OF THE YEAR 2007 (Finland)
Reviews:
'They're among [Medtner's] characteristic utterances and include many of his finest inspirations. Some are simply masterpieces … it's excellent to have a complete collection from Hamish Milne, one of our leading Medtnerians, as a welcome counterpart to Marc-André Hamelin's complete Sonatas, also on Hyperion. Milne is in complete technical and expressive command, bringing to them the fleetness and rhythmic spring, the varied character and wit, that all Medtner's music needs. He crests the summists of their virtuosity with such ease one can concentrate throughout on the music, not the pianist, as Medtner intended … he expounds the composer's thought with complete identification and sympathy' (BBC Music Magazine)
'From the very first of these skazki ('tales'), I was hooked. Much of this is to do with the advocacy of Hamish Milne, who has already recorded some of this repertoire for the CRD label, is regarded by many as the composer's greatest living champion and, as his booklet note emphasises, is determined to see through the prejudice that has dogged the composer's reputation since his death in 1951. His playing has the muscularity to cope with Medtner's often challenging rhythmic writing—listen to the bracing 'Dance Tale' from Op 48 of 1925—while this vigour is counterbalanced by a sensitivity to the music's poetry and lyricism. Indeed, his sympathy for Medtner's ever-amenable style—echoing Rachmaninov and Debussy at times—ensures that the ear is constantly engaged' (The Daily Telegraph)
'This is a major, important release … Milne has been recording Medtner for quite some time now … and his detailed and very well written booklet notes are on the same high level as his pianism … no-one plays these musical Tales as well as Hamish Milne' (American Record Guide)
'Hamish Milne's performances maintain a high level of consistency, presenting Medtner's ideas with great clarity. His playing has a crispness and rhythmic vitality that serves the music well. Medtner's various moods are all capably handled … an impressive achievement and eminently recommendable recording … recorded sound is up to Hyperion's usual excellent standards' (International Record Review)
'The 38 Skazki are the most important piano miniatures that Nikolay Medtner composed … there's something discursive and fantastical about these pieces; intensely conservative, Medtner's musical language was always rooted in late 19th-century romanticism, the world that his contemporary and friend Rachmaninov fashioned into a distinctive personal style, but which Medtner preserved almost intact. Yet his piano writing is vivid and superbly idiomatic; there are wonderful things in these Skazki, which are inspired by a wide range of literary sources, from Goethe and Shakespeare (King Lear and Hamlet) to Pushkin and Russian folklore … Hamish Milne is a wonderful guide to this world—his performances are both technically outstanding and musically penetrating' (The Guardian)
'Each one a unique gem of beguiling invention. Notoriously difficult to bring off, Hamish Milne makes some of the most exacting pages in the repertoire sound glorious' (Classic FM Magazine)
'Medtner was sometimes chided for lacking focus, but there's nothing diffuse in these clean-cut and formally lucid readings, which manage to present a wealth of boldly delineated detail without ever obscuring the music's overall trajectories. We're certainly unlikely to get a better complete run of the Skazki in the foreseeable future. Strongly recommended … a revelation: music of fantasy and individuality, and played by Milne with devotion' (Fanfare, USA)
'Milne has recorded many epoch-making Medtner discs and his new collection of the complete Skazki stands out as his finest to date. The richness of ideas and the overwhelming range of expression is Medtner at his finest. Milne eclipses Geoffrey Tozer in his otherwise brilliant Chandos recording and I cannot think of a pianist today who can better this' (Pianist)
'Milne's is a sincere and personal journey, as Medtner's undoubtedly was; the sound is fresh and unfussy, and Milne's own notes perspicuous and heartfelt' (International Piano)
'Completed by flawless recording quality—immediate, vivid and truthful, but never oppressive (dynamics are faithfully captured)—this is a quite outstanding and revelatory issue' (ClassicalSource.com)
Tracks:
CD1:
Skazki Op 8 [10'03]
1. Andantino [3'19]
2. Allegro [6'44]
Skazki Op 9 [8'13]
3. Allegro inquieto [3'34]
4. Allegro alla serenata, con alcuna licenza [2'42]
5. Allegretto vivo, odoroso [1'57]
Skazki Op 14 [7'37]
6. Ophelia's Song: Andantino con moto [3'29]
7. March of the Paladin: Allegro marciale [4'08]
Skazki Op 20 [6'37] 两首童话
8. Allegro con espressione [2'52]
9. Campanella: Pesante, minaccioso [3'45] 钟
Skazki Op 26 [10'24]
10. Allegretto frescamente [2'27]
11. Molto vivace [1'30]
12. Narrante a piacere [2'26]
13. Sostenuto [4'01]
Trois morceaux Op 31
14. Skazka: Allegretto capriccioso, con molto tenerezza [2'23]
Skazki Op 34 [17'01]
15. The Magic Violin: Tempo cangiando, abbandonamente [5'44]
16. Allegro e leggiero [2'16]
17. Allegretto tenebroso [3'24]
18. Molto sostenuto e semplice [5'37]
Skazki Op 35 [16'43]
19. Andante maestoso [3'44]
20. Capriccioso, con grazia [5'37]
21. Cantabile, narrante [3'28]
22. Allegro appassionato e tempestoso [3'54]
CD2:
Skazki Op 42 [14'10]
23. Russian Tale: Allegro sostenuto [6'11]
24. Phrygian Mode: Con moto disinvolto et grazioso [2'00]
25. Moderato, narrante [5'59]
Skazki Op 48 [12'45]
26. Dance Tale: Allegro risoluto [8'26]
27. Tale of the Elves: Con moto flessibile [4'19]
Skazki Op 51 [22'14]
28. Allegro molto vivace … e sempre leggierissimo [5'31]
29. Cantabile, tranquillo [3'43]
30. Allegretto tranquillo e grazioso [3'34]
31. Allegretto con moto flessibile [4'04]
32. Presto [2'11]
33. Allegro vivace sempre al rigore di tempo [3'11]
Romantic Sketches for the Young Op 54 [25'25]
34. Pastoral 'Prelude': Allegretto con moto abbandonamente [2'18]
35. Bird's Tale: Allegretto con moto capriccioso e sempre leggiero [2'36]
36. Tempo di Sarabanda 'Prelude': Andantino mobile [2'06]
37. Scherzo 'Tale': Allegro vivace [2'38]
38. Tender Reproach 'Prelude': Allegretto, molto tranquillo e commodo [3'08]
39. The Organ Grinder 'Tale': Allegro assai [5'31]
40. Hymn 'Prelude': Allegretto tranquillo [3'40]
41. The Beggar 'Tale': Narrante [3'28]
42. Skazka '1915' [2'12]
TT: 155'47
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