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3冷门 - Chandos布里奇(1879-1941) 管弦乐作品全集(6CDs)
Frank Bridge - Complete Orchestral Works (BBC National Orchestra of Wales, Nickox)
Richard Hickox,? BBC National Orchestra of Wales - Frank Bridge: Orchestral Works, Vol. 1-6 (2001-2005)
Composer: Frank Bridge (1879-1941) 弗兰克·布里奇
Orchestra: BBC National Orchestra of Wales
Conductor: Richard Hickox 理查德·希考克斯
Genre: Classical
Label: CHANDOS
Number of Discs: 6
Nos.: CHAN 9950, 10012, 10112, 10188, 10246, 10310
Rls. years: 2001, 2002, 2003, 2004, 2004, 2005
Total Time: 07:05:05
Frank Bridge (26 February 1879 – 10 January 1941) was an English composer, violist and conductor.
弗兰克·布里奇（英语：Frank Bridge，1879年2月26日－1941年1月10日），生于海滨城市布赖顿，后到皇家音乐学院学习作曲和中提琴，毕业后从事演奏和指挥，布里顿是他的私人学生。布里奇善于配器，所作管弦乐曲具有丰富的音响效果，而他的室内乐作品，如第三和第四弦乐四重奏则体现出十二音主义的影响。不过今天他的作品中仍然在演奏的只有一些小品，如钢琴曲《迷迭香》，小提琴曲《无穷动》等。
弗兰克·布里奇 (1879-1941)是英国作曲家、指挥家和室内乐演奏家， 但现在更多地是以布里顿(Benjamin Britten)的老师而知名。 在英国作曲家中， 他的名气至今不如年纪比他大的Elgar和Delius， 也不及与他年代基本相当的Vaughan Williams， 还有他的学生布里顿。 我觉得这与他缺少大型作品有关， 除了“大海”等几部交响诗以外， 他的作品以室内乐为主， 我个人也认为室内乐是他作品的精华。
“大海”是布里奇最出名的作品， 作于1911年， 令人有些惊讶的是只比德彪西的“大海”(La Mer)晚6年， 但从音乐语汇上似乎比德彪西的作品还要略微保守一些。 这首大约20分钟长的曲子分为4部分：1.海景；2.海的泡沫；3. 月光；4. 风暴。 这些标题很容易让人联想起德彪西那首曲子， 但布里奇这时的风格可能更接近李斯特（他的风格在一次大战后有大的转变）。一次大战后布里奇的风格变得多少更加复杂难懂了一些， 也吸收了斯克里亚宾和勋伯格等人的无调性因素， 但总体说来他还是停留在晚期浪漫派的范畴内。
布里顿自称10岁时（1923年）第一次听到布里奇指挥“大海”时被“彻底打趴下”了， 4年后他就开始跟布里奇学习作曲， 他也是布里奇唯一的学生和几乎唯一的鼓吹者。
布里奇作品列表: https://en.wikipedia.org/wiki/Li ... ons_by_Frank_Bridge
Frank Bridge couldn't write a tacky note to save his life. It's instructive in this respect to compare this premiere recording of his early tone poem Mid of the Night to Hyperion's recent release of Granville Bantock's almost exactly contemporaneous Thalaba the Destroyer. Where Bantock stitches shameless cribs from Tchaikovsky into a ramshackle and repetitive musical structure, Bridge's thematic material covers large, well-sustained spans and consistently holds the listener's interest. The lovely central melody introduced by English horn against softly murmuring strings has real lyrical beauty, and Bridge times his climaxes with unerring precision. Isabella, dating from 1907 (three years later than Mid of the Night), features some splendidly passionate string writing and an even more tightly integrated structure.
Two Poems for Orchestra shows Bridge moving confidently toward his mature style, the first movement delicately dissonant and suffused with yearning, the ensuing scherzo bubbling with vitality and a freshness that never turns facile. Enter Spring, a masterpiece of the composer's full maturity (1927), has the kind of exhilarating, bracingly vital pastoral character encountered more readily in the music of Roussel (middle movement of the Second Symphony) or Milhaud than in the British "cowpat" school, as Constant Lambert contemptuously referred to it. Alas, it's the weakest performance on the disc. While Richard Hickox's swift tempos sound wholly convincing, the recording balances the various sections of the orchestra poorly, and climaxes lack clarity. For example, the forte harp figurations at figure 1 fail to penetrate the very light accompaniment, and the percussion (cymbals and bass drum) is completely missing from the big climax at figure 30 (as are the chimes at the end).
Both Britten's live performance on BBC's "Britten the Performer" series and Charles Groves' classic EMI recording reveal far more of Bridge's luminous orchestral textures and encompass the climaxes with greater transparency. On the other hand, the other three works, more simply scored as they are, come off much better, and a new series devoted to the complete orchestral works of this neglected master is simply too important a prospect for the problems with Enter Spring to preclude an overall recommendation. I do hope, though, that Chandos cleans up its sonic act for future releases. [2/5/2002]
–David Hurwitz, ClassicsToday.com
CDs Info:
Vol. 1 (CHAN 9950) - Tracks:
1. Enter Spring (1926-27), rhapsody for orchestra, H.174
2. Isabella (1907), symphonic poem for orchestra, H.78
Poems (2) after Richard Jefferies for orchestra (1915), H.118
3. I. The Open Air - Andante moderato e semplice
4. II. The Story of My Heart - Allegro con brio
5. Mid of the Night (1903), symphonic poem for orchestra, H.30
TT: 75'48"
Recorded: Brangwyn Hall, Swansea; 26 & 27 November 2000
Vol. 2 (CHAN 10012) - Tracks:
1. Dance Rhapsody (1908), for orchestra, H.84
Five Entr’actes (1910), from Emile Cammaerts’s play The Two Hunchbacks for orchestra, H.95
incidental music for the play by émile Cammaerts
2. 1. Prelude to Act 1. Allegretto moderato - Lento
3. 2. Intermezzo from Act 2. Andantino
4. 3. Intermezzo from Act 3. Allegretto (marziale)
5. 4. Prelude to Act 3. Lento
6. 5. Entr'acte between Acts 2 and 3. Moderato
7. Dance Poem (1913), for orchestra, H.111
8. Norse Legend in G minor (1905/1938), for small orchestra, H.60
The Sea (1910–11), suite for orchestra, H.100
9. I. Seascape: Allegro ben moderato
10. II. Sea-Foam: Allegro vivo
11. III. Moonlight: Adagio ma non troppo
12. IV. Storm: Allegro energico - Allegro moderato e largamente
TT: 72'37"
Recorded: Brangwyn Hall, Swansea; 19 & 20 September 2001
Vol. 3 (CHAN 10112) - Tracks:
1. Coronation March (1911), for orchestra, H.97
written for a competition celebrating the new King George V
2. Summer (1914), tone poem for orchestra, H.116
3. Phantasm (1931), Rhapsody for Piano and Orchestra, H.182
4. There Is a Willow Grows aslant a Brook (1927), Impression for Small Orchestra, H.173
title taken from Act IV of William Shakespeare's Hamlet; Benjamin Britten transcribed the work for viola and piano
Vignettes de Danse (1938), for small orchestra, H.166
1938 orchestration of 3 movements from Vignettes de Marseille for piano
5. I. Nicolette
6. II. Zoraida
7. III. Carmelita
8. Sir Roger de Coverley (1922), Christmas dance for string orchestra, H.155
original version for 2 violins, viola and cello
TT: 69'55"
Howard Shelley, piano
Recorded: Brangwyn Hall, Swansea; 27 November 2000 (Sir Roger de Coverley) and 28 & 29 November 2002 (other works)
Vol. 4 (CHAN 10188) - Tracks:
1. Rebus (1940), overture for orchestra, H.191
2. Oration (Concerto elegiaco) (1930), for cello & orchestra, H.180
3. Allegro moderato (1940–41), fragment of a symphony for string orchestra, H.192 (fragment of a Symphony)
4. Lament (for Catherine, aged 9 "Lusitania" 1915) (1915), for String Orchestra, H.117
5. A Prayer (1916–18), for Chorus and Orchestra, H.140
words by Thomas à Kempis
TT: 77'00"
Alban Gerhardt, cello
Recorded: Brangwyn Hall, Swansea; 13 & 14 May 2003
Vol. 5 (CHAN 10246) - Tracks:
Suite for string orchestra (1909–10), H.93
1. 1. Prelude. Moderato - Un pochettino maestoso - Allegro ma non troppo - Tempo 1, tranquillo - Meno
2. 2. Intermezzo. Allegretto grazioso
3. 3. Nocturne. Adagio molto - Un pochettino animato - Tempo 1
4. 4. Finale. Allegro vivo - Poco meno mosso - Tempo 1
5. The Hag (1902), song for baritone & orchestra, H.14
words by James Merrick
Songs (2) of Robert Bridges (1905–06), for baritone & orchestra, H.65
6. 1. I praise the tender flower, H 65a. Andante moderato - Pochettino più mosso - Tempo 1
7. 2. Thou didst delight my eyes, H 65b. Allegro appassionato - Moderato
Intermezzi (2) from 'Threads' (1921/1938), H.151
incidental music to the play by Frank Strayton; original for piano
8. 1. Andante molto moderato e tranquillo
9. 2. Tempo di valse - Animato
Old English Songs (2) (1916), for string orchestra, H.119
original version for 2 violins, viola and cello
10. Sally in Our Alley. Andante con moto - Poco tranquillo - Tempo 1
11. Cherry Ripe. Allegretto con moto
Entr'actes (2) (1906, 1926)
12. 1. Rosemary, H.68b. Andante espressivo e molto rubato - Allegro - Tempo 1 ma poco più tranquillo
13. 2. Canzonetta, H.169. Allegretto molto moderato e rubato - Allegro con moto - Tempo 1
14. Valse-Intermezzo (1902), for strings in E minor, H.17
15. Todessehnsucht (Come Sweet Death) (1932/1936), H.181
original version for piano
16. Sir Roger de Coverley (1922/1939), Christmas dance for string orchestra, H.155
TT: 68'17"
Roderick Williams, baritone
Recorded: Brangwyn Hall, Swansea; 3 & 4 December 2003
Vol. 6 (CHAN 10310) - Tracks:
1. Blow out, you bugles, H 132 (1918), for tenor and orchestra
2. Adoration, H 57 (1905/1918), for tenor and orchestra
3. Where she lies asleep, H 114 (1914), for tenor and orchestra
4. Love went a-riding, H 115 (1914), for tenor and orchestra
5. Thy hand in mine, H 124 (1917/1923), for tenor and orchestra
6. Berceuse, H 9 (1901), for soprano and orchestra
7. Mantle of blue, H 131 (1918/1934), for high voice and orchestra
8. Day after day, H 164i (1922), for mezzo-soprano and orchestra
9. Speak to me, my love!, H 164ii (1924), for mezzo-soprano and orchestra
10. Berceuse, H 8 (1901/1902 /1928)
11. Chant d’espérance, H 18ii (1902)
12. Serenade, H 23 (1903)
The Pageant of London, H 98 (1911), Suite for wind orchestra
13. I. Solemn March ‘Richard III leaving London
14. II. First Discoveries - 1. Introduction. Moderato
15. II. First Discoveries - 2. Pavane. Moderato
16. II. First Discoveries - 3. La Romanesca [a Galliard]. Allegretto
17. III. March ‘Henry VIII entering London
18. A Royal Night of Variety, H 184 (1934), Epilogue for orchestra
TT: 61'13"
Sarah Connolly, mezzo-soprano
Philip Langridge, tenor
Recorded: Brangwyn Hall, Swansea; 23 & 24 October 2004
Track 1,2,3,4,5,6,7,11,13,18- Premiere rec.
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