【钢琴】李斯特 - 音乐会释义曲“弄臣” S.434 (Grigory Ginzburg)

合集 · Great Performance (94)

Description

Franz Liszt - Rigoletto de Verdi – Paraphrase de Concert, S434
Performer: Grigory Ginzburg

The operas of Verdi supplied Liszt with a good many ideas for operatic fantasies, and the Paraphrases de concert on Ernani, Il Trovatore and Rigoletto are amongst Liszt’s finest. They were issued as a set, although the publisher managed not to print them in Liszt’s specified order, which is that observed here. Liszt had already produced another fantasy on themes from Ernani which includes some similar material, but he declined to publish it and reworked part of it into the piece recorded here. By calling these three pieces paraphrases, rather than fantasies or transcriptions, Liszt intends to convey the idea of taking a specific section of an opera, presenting it in highly pianistic terms whilst maintaining the general lines of the original. So the Ernani paraphrase confines itself to the finale of Act III (the King of Spain’s aria and chorus at Charlemagne’s tomb), the Trovatore paraphrase is upon the Act IV duet between Leonora and the condemned Manrico, with the accompanying chorus singing the Miserere (which is distantly derived from the opening of Allegri’s Miserere), and the justly famous Rigoletto paraphrase is simply a stunning re-creation of the quartet between Rigoletto, Gilda, the Duke and Maddalena in Act IV.

Comments

ChochoAngel 2024-04-06

威尔第的歌剧为李斯特创作歌剧幻想曲提供了许多素材与启发，而根据Ernani、Il Trovatore和Rigoletto的创作的音乐会释义曲是李斯特最优秀的作品。尽管出版商没有按照李斯特指定的顺序印刷它们，但这些作品是作为一套发行的。李斯特已经创作了另一部以Ernani为主题的幻想曲，其中包括一些类似的材料，但他拒绝出版它，并将其中的一部分重新加入到这部作品中。通过将这三首作品称为paraphrase，而不是fantasie或transcription，李斯特试图传达这样的想法：选取一部歌剧的特定部分，以高度pianistic的语言呈现，同时保持原作的基本线条。因此，Ernani的释义曲的素材仅限于第三幕终曲（the King of Spain’s aria and chorus at Charlemagne’s tomb），Il Trovatore的释义曲是在第四幕的Leonora and the condemned Manrico二重唱中，伴奏合唱唱着Miserere（源自Allegri’s Miserere），而著名的Rigoletto释义曲简直就是对第四幕中Rigoletto,、Gilda、Duke和Maddalena四重唱的令人惊叹的再现。

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