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5无损音乐格式古典音乐冷门 - Nonesuch亚当斯(b.1947) 舍赫拉查德第二
John Adams: Scheherazade.2 (2016)
约翰·亚当斯: 舍赫拉查德第二 - 为小提琴与管弦乐队而作的戏剧性交响曲
Composer: John Adams (b.1947) 约翰·亚当斯
Artist: Leila Josefowicz (b.1977), violin 莱拉·约瑟芙维茨, 加拿大小提琴家 (http://www.leilajosefowicz.com/)
Orchestra: St. Louis Symphony Orchestra 圣路易斯交响乐团
Conductor: David Robertson 大卫·罗伯森
Genre: Classical
date: 30th Sept 2016
John Coolidge Adams (born February 15, 1947) is an American composer of classical music and opera, with strong roots in minimalism.
"I'm writing what might turn out to be the longest violin concerto in history. I'm actually calling it a Symphony for Violin and Orchestra, and it's called Scheherazade.2," composer John Adams joked to Richard Scheinin in a thoroughly enjoyable interview in today's San Jose Mercury News.
"It was inspired by images of women, largely being oppressed or abused or violated, that I saw in the news," Adams said. "It's just a kind of whimsical idea of a Scheherazade who is empowered, differently empowered than the original. The original had to sort of use her storytelling wiles to escape this -- this horrible story. But this Scheherazade actually -- she gives it back."
Read the whole thing. Adams talks about the unique frustrations of writing for violin and his lifelong connection to jazz. Good stuff.
John Adams’s Scheherazade.2 — Dramatic symphony for violin and orchestra
The New York Philharmonic gives the World Premiere 26–28 March 2015, with Alan Gilbert conducting and Leila Josefowicz as soloist.
约翰·亚当斯（John Adams）是出生于1947年的美国着名作曲家，是一位写好听音乐的当代作曲家。他的作曲技法属于现代作曲技法，他的音乐被称为简约派风格。
不是所有现代或当代音乐都是光怪陆离、难听和晦涩怪异的，约翰·亚当斯的音乐就属于当代作曲家中可听性较强的音乐。
他2014-15年完成的一部小提琴与乐队的作品《舍赫拉查德第二》首演即获得热烈欢迎，被誉为“戏剧性交响曲”。全曲演奏时间总长度为50分钟左右。亚当斯用阿拉伯神话故事《一千零一夜》中的人物舍赫拉查德作为创作立意，为了不让人们将这部作品与19世纪俄国作曲家里姆斯基·科萨科夫的交响诗《舍赫拉查德》混淆，亚当斯特意注明“舍赫拉查德第二”。
《舍赫拉查德第二》是约翰·亚当斯应纽约爱乐乐团、阿姆斯特丹皇家音乐厅管弦乐团和悉尼交响乐团三团联合委约创作的一部交响乐作品，2015年3月在纽约首演，由90年代曾经红极一时的美籍加拿大小提琴家莱拉·约瑟夫维茨（Leila Josefowicz）担任独奏，乐队部分是阿兰·吉尔伯特（Alan Gilbert）指挥的纽约爱乐乐团。不久，由作曲家本人指挥伦敦交响乐团在英国巴比肯皇家爱乐音乐厅举行了英国的首演，也取得辉煌的成功，英国《卫报》和BBC电台等多家媒体都给予了积极的报道。
“戏剧性交响曲”这个概念可能来自于19世纪法国浪漫主义作曲家柏辽兹的《“幻想”交响曲》，而作品名称标题“舍赫拉查达”显然是来自于阿拉伯神话故事《一千零一夜》，音乐中一个个戏剧性场面表现的是舍赫拉查达为了逃避被丈夫处死，每天晚上都要自编和讲述一个精彩的故事来取悦她那残酷无情的丈夫。
与里姆斯基·科萨科夫《舍赫拉查德》（又名《天方夜谭》和《一千零一夜》不一样的是，里姆斯基·科萨科夫笔下的“舍赫拉查德”是《一千零一夜》故事中的人物，一位受虐待，为了保命，每天晚上必须给残暴的丈夫沙里亚（苏丹王子）讲故事的妻子（美丽温柔和智慧的舍赫拉查德），而约翰·亚当斯笔下的“舍赫拉查德”暗示的则是当今中东地区广大受压迫和受虐待的妇女们。估计亚当斯担心惹政治麻烦，他明确表示他的这部作品没有任何政治意图和政治暗示，虽然有四个乐章，但并没有具体的叙事详述，每个乐章的标题只是一种提示：（1）年轻聪慧女子讲述的故事和相信她的故事的追随者；（2）漫长的爱情渴望（爱情场景）；（3）舍赫拉查德与留大胡子的男人；（4）出逃、腾飞、隐遁。
这个作品的曲式结构布局也很像里姆斯基·科萨科夫的交响诗《舍赫拉查德》，而音乐语言和音乐寓意完全不一样。
约翰·亚当斯《舍赫拉查德第二》第一乐章是一个不同音乐形象之间的对话，第二乐章是一个痛苦和忧伤的慢乐章，第三乐章是一个充满戏剧性的谐谑曲，第四乐章是整个作品的归宿，一切激烈的冲突回归到平静。
You'd get differing answers to the question of whether John Adams is America's greatest living composer, but he's the one to whom the country turned in the aftermath of the terrorist attacks of September 11, 2001. The demand for new work from him has only increased since he achieved senior citizen status. Fortunately, he's been able to meet that demand with distinctive large-scale works. Consider 2016's Scheherazade.2, recorded here by the violinist who premiered the work, Leila Josefowicz, with the St. Louis Symphony Orchestra under David Robertson. The piece succeeds on several levels. It is, outwardly, as close as Adams has come to writing a big Romantic violin concerto, and it will no doubt be welcomed into the concert repertory as such. Yet go into it more deeply, and it seems less a concerto than – well, what, exactly? Adams calls it a "dramatic symphony." English critic Nick Breckenfield has compared it to Berlioz's Harold in Italy, with the soloist representing an individual making her way through a series of adventures that may have a threatening tinge. Adams was inspired to write the work after visiting an exhibition in Paris devoted to Scheherazade and the Thousand and One Nights, and the work has a bit of feminist critique woven into its unusual structure. The four movements, traditional in their outer shapes, are each loosely programmatic, and except for the second, "A Long Desire," each presents the heroine under some kind of pressure from male figures. Sample the third movement, "Scheherazade and the Men with Beards," where she seems to be surrounded by a chattering group of religious leaders who disagree among themselves. Scheherazade elbows her way into the discussion at times. Josefowicz's sharp-edged style is ideal for the work, and the St. Louis Symphony excels in the music's give and take. Adams has produced at once a worthy successor to the long tradition of Scheherazade pieces in classical music, and one that, as so often with Adams, pokes the tradition in which it works.
Review by James Manheim, Allmusic.com
For most music lovers, the word Scheherazade likely conjures the plush orientalism of Rimsky-Korsakov’s orchestral tone-poem. John Adams’s Scheherazade.2 (2015) also took inspiration from the Arabian Nights but via an exhibition at the Institut du Monde Arabe in Paris that, in the composer’s words, detailed ‘the casual brutality toward women that lies at the base of many of these tales [and] the many images of women oppressed or abused or violated that we see today in the news on a daily basis’.
Adams’s ‘dramatic symphony’ does not tell a particular story but rather ‘follows a set of provocative images’. Adams employs a solo violin to represent the resourceful protagonist, as Rimsky-Korsakov did, though here the part is considerably more elaborate. In fact, Adams’s work was written specifically for violinist Leila Josefowicz and often sounds more like a concerto than a symphony or tone-poem – although it’s quite distinct in style and tone from Adams’s Violin Concerto.
Scheherazade.2 is an expansive, thematically dense and texturally intricate work, and it took me a few listens to begin to grasp its overall structure. Initially, I tried to find my way using the images conjured by the movement titles and the composer’s programme notes, but it wasn’t until I stopped trying to divine an interpretation and simply allowed the music to guide my imagination that it began to pull together. There are exotic elements in the score, certainly (the prominent use of the cimbalom, for example), but these are more for colour than for content. Indeed, there’s an organic quality to the piece’s unfolding that feels closer to Sibelius or early Schoenberg than to Rimsky-Korsakov.
Josefowicz, who has been a champion of the composer’s music for decades, gives a performance here that explains why Adams has such faith in her: suave and sensual, yet assertive and full of longing. The St Louis Symphony play with authority under David Robertson and the recording is beautifully balanced.
Review by Andrew Farach-Colton, Gramophone
Leila Josefowicz
莱拉·约瑟芙维茨（Leila Josefowicz）1977年10月20日出生于加拿大。她的成名较早，十岁便上美国NBC、PBS电视表演，1994年16岁的她就与马里纳、圣马丁合作，在卡内基音乐厅演出柴可夫斯基小提琴协奏曲的精彩绝伦至今仍让很多人印象深刻。约瑟芙维茨跟随名师林肯(Kafhy Linke)学琴。后跟从里普谢夫（Robert Lipseff）学习5年。随后进科蒂斯音乐学院、师从布劳斯基（Brodsky）及拉雷多（Laredo）。在古典音乐界素以令人惊叹的技巧、表现力而有“女海菲茨”美誉。1994年开始，飞利浦古典唱片公司连续推出她多张录音专辑，张张畅销并获得好评。正当她的演出事业如日中天时，她闪电结婚，随即生孩子，之后就息声舞台，近年开始努力重新返回舞台。但是，很多新秀已经挤满了舞台，她要再回到昔日的辉煌已经很难。于是，她致力于首演一些有影响力的当代作曲家的新作，先后与沙洛能和约翰·亚当斯合作，均取得良好的效果。
Violinist Leila Josefowicz is the chosen interpreter of several of today’s leading composers, including John Adams, Oliver Knussen, Thomas Adès, and Esa-Pekka Salonen. In recognition of her advocacy and commitment to the music of today, she was named a 2008 MacArthur Fellow. Violin concertos have been written for her by Salonen, Steven Mackey, Colin Matthews, and Luca Francesconi, whose concerto Duende – The Dark Notes Ms. Josefowicz performed in its World Premiere in February 2014 with Susanna M?lkki and the Swedish Radio Symphony Orchestra. She first performed Salonen’s Violin Concerto with the Los Angeles Philharmonic conducted by the composer, before subsequent performances throughout Europe and North America, including with the New York Philharmonic. She premiered Matthews’s Concerto with the City of Birmingham Symphony Orchestra before performing it with the Orchestre national de Lyon and the BBC and Finnish Radio symphony orchestras. After premiering John Adams’s Scheherazade.2 — Dramatic symphony for violin and orchestra with the New York Philharmonic, which co-commissioned the work, led by Alan Gilbert in March 2015, she will reprise the work with the Cincinnati and Atlanta symphony orchestras in April and May, respectively, both conducted by the composer. Other engagements in the 2014–15 season include concerts with Zurich’s Tonhalle Orchestra with Esa-Pekka Salonen and Cologne’s Gürzenich Orchestra with James Gaffigan, and a recital at London’s Wigmore Hall in March 2015. Recent highlights include performances with the BBC, Boston, Chicago, Swedish Radio, Finnish Radio, RAI National, Melbourne, and Lucerne symphony orchestras, and the London Philharmonic, Orchestre Philharmonique de Radio France, and the Orchestra Filarmonica della Scala. Leila Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal, and Warner Classics and was featured on Touch Press’s acclaimed iPad app, The Orchestra. Her latest recording, of Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer, was nominated for a Grammy Award in 2014.
Tracklist:
Scheherazade.2 (Dramatic symphony for violin and orchestra) (2014-15)
天方夜谭第二 - 为小提琴与管弦乐队而作的戏剧性交响曲
01. I. Tale of the Wise Young Woman – Pursuit by the True Believers (15:00) 年轻聪慧女子讲述的故事和相信她的故事的追随者
02. II. A Long Desire (Love Scene) (14:24) 漫长的爱情渴望（爱情场景）
03. III. Scheherazade and the Men with Beards (09:46) 舍赫拉查德与留大胡子的男人
04. IV. Escape, Flight, Sanctuary (08:25) 出逃、腾飞、隐遁
Playing Time: 47'36
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