【钢琴】李斯特 - 从摇篮到坟墓 S.512

Description

Franz Liszt－Von der Wiege bis zum Grabe 'Du berceau jusqu'à la tombe', S512
Performer: Sergio Monteiro

During his time at Weimar Liszt composed twelve symphonic poems which had an incalculable influence over the orchestral music of the later nineteenth and early twentieth centuries. After Weimar, Liszt no longer had an orchestra at his ready command, and that is at least one reason why his orchestral output is much slenderer in his final period. But at the time he was completing the Cantico he was working on a thirteenth and final symphonic poem whose subject was From the Cradle to the Grave, after a drawing by Mihály Zichy depicting three stages of existence: birth, the struggle for being, and death—the cradle of the life to come. Zichy’s actual title was Du berceau jusqu’au cercueil (‘From the Cradle to the Coffin’), which would not have suited Liszt’s philo- sophical purpose at all. The outer sections have much in common with the composer’s late introspective keyboard works, whilst the strivings of the middle section hark back to the earlier symphonic poems. The first part is very similar to the separately published Wiegenlied (recorded on Volume 11 of this series), and the final part combines themes from the previous two before disappearing in etherium. Unusually, Liszt drafted the work for piano, then arranged and amplified it for duet and for orchestra, and transferred later alterations back into the solo version. Equally unusually, he made very little effort to incorporate extra instrumental lines into the piano version but left them printed on an extra stave to be included at will. Such inclusion, as on the present recording, requires one or two small accommodations to be made in the main solo text, but to omit the extra voices would be to diminish a beautiful piece, especially as the fuller text is not unknown in its orchestral form.

Comments

Muzio-Clementi 2020-07-17

从入门到入坟[tv_目瞪口呆]

♥ 88 ↩ 2

Hau-Hao 2020-08-08

在魏玛（德国城市）期间，李斯特创作了12首交响诗，对19世纪后期和20世纪初的管弦乐产生了不可估量的影响。离开魏玛之后，李斯特不再有管弦乐队随时听从他的指挥，这也是他最后时期的管弦乐作品更为纤细的原因之一。但在他完成Cantico的时候，他正在创作第十三首也是最后一首交响诗，其主题是《从摇篮到坟墓》，这首交响诗是根据Mihály Zichy的一幅画作来创作的，描绘了人类生存的三个阶段：“摇篮”、“斗争的一生”和“坟墓，正是下一世的摇篮”。Zichy画作的实际标题是Du berceau jusqu'au cercueil（《从摇篮到棺材》），但其实这压根不符合李斯特的哲学目的。外侧部分与作曲家（李斯特）晚期用于自省的键盘乐作品有许多共同之处，而中段的创作则容易让人联想到早期的交响诗。第一部分与单独出版的Wiegenlied（录于本系列第11卷）非常相似，最后一部分则结合了前两部分的主题，然后消失在以太中。十分不寻常的是，李斯特为钢琴起草了这部作品，然后为二重奏和管弦乐队进行了编排和放大，并将后来的改动转回独奏版本。而更不寻常的是，李斯特几乎没有在钢琴版中加入额外的器乐句，而是将它们印在额外的谱架上，以便后期随意添加。这样的收录和现在的录音有些相像，需要在独奏的主文本中做一两个小的调整，但如果省略了这些额外的声音，一首乐曲的优美感就会被削弱，尤其是在完整的文本在管弦乐形式中并不少见这样的情况下。

♥ 15