【米奇斯瓦夫·魏因贝格】钢琴五重奏 Op.18 (1944)

合集 · 俄罗斯作品合集 (236)

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https://www.youtube.com/watch?v=Cnr67zLDWz0
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原视频简介：
Mieczysław Weinberg (1919 - 1996) - Piano Quintet, Op. 18 (1944)

I. Moderato con moto [0:00]
II. Allegretto [7:26]
III. Presto [13:18]
IV. Largo [18:27]
V. Allegro agitato [31:20]

Borodin Quartet
Mieczysław Weinberg, piano (1963)

"The Quintet was written in August - October 1944, indicative of a wider period of intense creativity and the culmination of experience accrued over a short number of years. Weinberg had by this point been settled in Moscow little over a year, and the immediate success of the Quintet demonstrates how quickly he had managed to ingratiate himself into musical life in the Soviet capital. Weinberg was enjoying the rich musical life of Russia during WWII, when the beady eye of Soviet authority was more relaxed in its control of the arts, since it was chiefly concerned with the war effort. After 1945, the walls of the Soviet government would come crashing down on Weinberg. The high level of maturity displayed here had been hinted in several works previously, particularly the 3rd Quartet, Op. 14. But only in the Piano Quintet does Weinberg reach a style that can arguably be called 'his own'.

The work is cast in five movements, similar to Shostakovich's Piano Quintet of 1940, Op. 57. The character is overwhelmingly energetic yet serious, despite a cheekily-playful opening movement and a languid fourth movement. The cold mood of the work could be argued makes it less immediately accessible than Shostakovich's famous work (though I would retort that Weinberg's gift for melody really sells the Quintet). The ensemble writing is excellent throughout, with overtones that would resonate throughout much of his later output, including the piano trio, Op. 24, and many of his subsequent chamber works.

The first performance took place in Moscow on 18th March 1945, with Emil Gilels and the Bolshoy Theatre String Quartet."

Comments

古典主义66 2021-05-11

钢琴五重奏 op. 18号，是第二次世界大战中出现的最杰出室内乐的作品之一。它于1945年3月18日由埃米尔•吉列尔斯和莫斯科大剧院的弦乐队成员进行了首演。还有一张在20世纪60年代初由鲍罗丁四重奏和魏因伯格本人钢琴演奏的录音（也就是谱版视频的音频部分，这里感谢UP的精心挑选）。其中一些段落的外向性可能与该曲子构思时的动荡年代有关。 1939年，作曲家因德军入侵逃离了他的家乡波兰。起初他住在白俄罗斯的明斯克市，后来住在乌兹别克斯坦的塔什干。这个年轻人无疑被这些城市的文化影响所打动，在那里他遇到了许多移民艺术家和音乐家。1943年夏末，应他的恩师肖斯塔科维奇的邀请，他和他年轻的妻子娜塔莉亚一起搬到了莫斯科。这是这位24岁的年轻人的第一部大型室内乐作品，其灵感来自于四年前肖斯塔科维奇所写的内容类似的五乐章钢琴五重奏。其中包括两首谐谑曲性质的乐章，使作品具有推动性的活力，以及火热的结尾。与此相反，第一乐章的较快的中板和第四乐章“广板”具有丰富的表现力，并带有强烈的忧郁色彩。魏因伯格经常想到未能出逃的父母和他的妹妹，他们都在华沙丧生。然而，《钢琴五重奏》中这些带有浓厚主观色彩的第一手资料被整合到一个压倒性的形式和结构中。有时，我们似乎是在听一场音乐纪念会。这部完成于1944年的作品是经过缜密思考的。引导性的主题像一条红线贯穿五个乐章。斑驳的对位和丰富的音质揭示了年轻的魏因伯格的天才，他以极度的自信向世界展示了他的名片。他对弦乐的灵活处理，以及有时与要求严格的钢琴部分的新颖联系，揭示了室内乐的新品质。俄罗斯作曲家尤里-列维坦（Yuri Levitan）在乐谱印刷版的评论中特别指出：作品具有令人不安的抒情性和深刻的冥想性的。

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