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| 埃塞尔·玛丽·史密斯（Ethel Mary Smyth 1858-1944） | |||||||||||||||||||||||||||||||||||||||||
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| 东欧音乐节03：布拉格之春国际音乐节01（20180426） | |||||||||||||||||||||||||||||||||||||||||
简介补充: NHK-FM（東京）ベストオブクラシック▽東ヨーロッパの音楽祭（3）プラハの春国際音楽祭1 |
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主持人：高山久美子 曲目：斯沃博达 - 季节序曲，Op. 89 |
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（演奏：布拉格交响乐团，指挥：乔纳森·海沃德） 埃塞尔·史密斯 - 为小提琴与圆号而作的二重协奏曲 |
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（小提琴：杨·穆拉切克，圆号：拉德克·巴伯拉克，演奏：布拉格交响乐团，指挥：乔纳森·海沃德） |
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卡尔·尼尔森 - 第四交响曲“不灭”，Op. 29，FS 76 （演奏：布拉格交响乐团，指挥：乔纳森·海沃德） |
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（以上于2017年5月30日收录于捷克布拉格的斯美塔那音乐厅） 雅那切克 - 组曲《狡猾的小狐狸》，JW 1/9（瓦茨拉夫·塔里克编曲） |
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（演奏：布拉格交响乐团，指挥：皮特·阿尔特里希特，收录于SUPRAPHON出版的专辑<COCO-75261>） |
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音乐历史上的今天 1903年3月11日，埃塞尔·玛丽·史密斯（Ethel Mary Smyth)的《森林》（Der Wald)是大都会歌剧院上演的唯一一部女性创作的歌剧。 埃塞尔·玛丽·史密斯（Ethel Mary
Smyth，1858-1944），是英国音乐史上最重要的女作曲家之一，并受封英帝国女勋爵。她还是女权运动的中的领军人物，她鼓励女性关注重大而富于挑战的工作，不要总是靠岸而行、而害怕扬帆远航。
埃塞尔·史密斯在她出版的几本回忆录中描述了她与女性的关系。她爱上了波林·特雷维林、尤金妮皇后、温纳雷塔·辛格、玛丽·庞森比夫人、伊迪丝·萨默维尔和弗吉尼亚·伍尔夫。她是登山运动员、自行车运动员和高尔夫球手。她做过电台广播，其中包括1937年战前与德皇的两次会晤，以及1938年自己的80岁生日庆典。 今日视频：1、布拉格之春上演埃塞尔·史密斯《为小提琴与圆号而作的二重协奏曲》 ；2、埃塞尔·史密斯 歌剧《救援队》2015年纽约巴德夏日音乐节。 |
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| 埃塞尔·玛丽·史密斯（Ethel Mary Smyth ） 在工作中 | |||||||||||||||||||||||||||||||||||||||||
| 作为一名勇敢的女权主义者以及训练有素的作曲家，埃塞尔·斯密斯夫人拒绝继续被维多利亚时代的习俗所束缚。愉快地独立之后，史密斯进入莱比锡音乐学院学习作曲并以此来挑战自己的父亲，尽管对有些标准感到失望，但史密斯继续私下里师从奥地利作曲家海因里希·冯·赫佐根伯格（Heinrich von Herzogenberg）学习音乐，老师将她介绍给了勃拉姆斯和克拉拉·舒曼。由“女性”歌曲以及钢琴微型作品形成的沙龙世界并不适合史密斯的创作风格。从一开始，史密斯就以勃勃雄心投入大规模形式的创作，包括为圆号和小提琴创作的《双协奏曲》、《D大调弥撒》以及六部歌剧。1903年，史密斯创作的歌剧《森林》被搬上纽约大都会歌剧院的舞台，而她的喜歌剧《水手长的伙伴》则以令人愉快的对话风格赢得了当代听众的赞誉。英国指挥家托马斯·比彻姆1934年以她的名义组织了一场音乐节，伦敦逍遥音乐节创建人亨利·伍德也是她的仰慕者：1913 至1947年间，史密斯的作品共演出了二十八场。她那部1906年在莱比锡首演的歌剧《破坏者》，终于在1994年首次登上逍遥音乐节的舞台。 | |||||||||||||||||||||||||||||||||||||||||
| A courageous feminist and a trained composer, Mrs Ethel Smith refused to be bound by Victorian mores.Happily after independence, Smith to enter music school in leipzig, composition and to challenge their father, although disappointed at some standards, but Smith continue privately from Austrian composer Heinrich von HeZuoGen berg (Heinrich von Herzogenberg) learning music, the teacher will introduce her to the Brahms and Clara schumann.The salon world of "women" songs and piano miniatures did not suit Smith's style.From the outset, Smith was ambitious in his commitment to large-scale forms, including the "double concerto" for horn and violin, "mass in D major" and six operas.In 1903, Smith's opera "the forest" was performed at the Metropolitan Opera in New York, and her comic opera "the boatswain's companion" won praise from contemporary audiences for its delightfully conversational style.The British conductor Thomas beauchamp organized a music festival in her name in 1934, and the founder of the London proms, Henry wood, was an admirer: between 1913 and 1947, Smith gave 28 performances.Her opera "the destroyer", which premiered in leipzig in 1906, finally made its proms debut in 1994. | |||||||||||||||||||||||||||||||||||||||||
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| 埃塞尔·玛丽·史密斯（Ethel Mary Smyth ）在创作中。 | |||||||||||||||||||||||||||||||||||||||||
| 埃塞尔·玛丽·史密斯的生平和轶事典故 | |||||||||||||||||||||||||||||||||||||||||
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埃塞尔·玛丽·史密斯（Ethel Mary
Smyth，1858-1944），是英国音乐史上最重要的女作曲家之一，并受封英帝国女勋爵。她还是女权运动的中的领军人物，她鼓励女性关注重大而富于挑战的工作，不要总是靠岸而行、而害怕扬帆远航 1858年4月23日，史密斯生于一个军人家庭，从小就有不让须眉之气。童年时期，她随着家人在英国与印度之间来回奔波，这一经历促成了她日后对旅行与冒险的热爱。 十九岁的史密斯违背父命，发奋苦读，终得以前往德国莱比锡（Leipzig）专攻音乐。在这里，她结识了柴可夫斯基（Tchaikovsky）、勃拉姆斯（Brahms）、克拉拉·舒曼（Clara Schumann）以及格里格（Grieg）等著名作曲家。 女性音乐家所受的歧视让她不得不依靠颇具影响力的赞助人——如拿破仑三世之妻欧仁妮皇后（Empress Eugénie）——来获得演奏自己作品的机会。史密斯称欧仁妮皇后“具有强烈的女性主义情怀”。 史密斯的阶级优势使得她不必对自己的同性倾向遮遮掩掩。19世纪末20世纪初的欧洲，充满创造力的艺术家备受推崇，人们认为对于艺术家敏感多思的心灵来说，性的丰盛和不羁是可以理解甚至是理所当然的。 史密斯认为自己与当时那群同性恋艺术家、作家和音乐家意气相投，这些人中包括普鲁斯特（Proust）、考克多（Cocteau）、罗曼尼·布鲁克斯（Romaine Brooks）、塞尔戈·佳吉列夫（Serge Diaghilev）、维奥利特·崔弗斯 (Violet Trefussis)、拉德克利夫·霍尔（Radclyffe Hall）以及奥斯卡·王尔德（Oscar Wilde）。 史密斯的罗曼史简直就是一幕幕女女激情的活剧。很多感情是相互的，但其它的就很难讲，例如她在七旬之年对比她年轻许多的弗吉尼亚·伍尔夫（Virginia Woolf）的暗恋。 史密斯与哈里·布鲁斯特（Harry Brewster）一起生活了十年，后者是她当时的恋人Lisl von Herzogenberg的妹夫。这是她唯一一段反常的异性情感。她在给他的信中写道：“我想知道为何我对同性激烈的爱来得如此容易，而对你所属的性别却无能为力……我有健全的心智，而这件事让我永远地困惑了。” 史密斯的同性恋情和她的女性主义思想相得益彰。她不知疲倦地支持投身音乐事业的女性，她敦促女性音乐家对同行们发誓：“除非你让女人在管弦乐团得到和男人相同的地位，除非女性作品在你的节目里得到重视，否则你会寸步难行。” 史密斯是争取妇女选举权运动中的关键人物，她还创作了“女性社会与政治联盟”（Women's Social and Political Union）的会歌——《妇女进行曲》（The March of Women）。 在一次争取妇女参政权的示威活动中，史密斯因为砸碎了辅政司的窗户而被监狱羁押了两个月。托马斯·比彻姆形容说，“一队崇高的烈士”在监狱庭院里游行示威，高唱史密斯的进行曲，而史密斯正从牢房窗户里拿着牙刷进行指挥。 毫不意外地，她疯狂地爱上了妇女参政运动的领袖埃米琳·潘克赫斯特（Emmeline Pankhurst）。有证据表明，这次并非史密斯的单恋。 而史密斯众多的情人中还有欧仁妮皇后(Empress Eugénie)、云娜丽达·胜家（Winnaretta Singer，美国胜家缝纫机公司的继承人、音乐慈善家）等人。 史密斯对女人的爱与她对争取男女平等的热情密不可分，同时女权立场及同性渴望在她的音乐创作中都有所体现。她写道：“我希望女性能关注重大而富于挑战的工作，不要总是靠岸航行，而害怕扬帆远航。” 埃塞尔·史密斯于1944年5月8日逝世。她在女性主义及女同性恋的历史上留下了鼓舞人心、浓墨重彩的一笔。 轶事典故 1912年，埃塞尔因打破窗户被监禁两个月。当指挥家汤玛斯·比彻姆（Thomas Beecham）到哈洛威监狱（Holloway Prison）看望她时，她正拿着牙刷为一群犯人和女权参政论者担任指挥。埃塞尔是一名狂热的女权主义者和女权积极分子，她创作的《女人进行曲》（March of the Women）后来成为女权参政论团体的会歌。埃塞尔的经历告诉我们，我们已经在争取妇女权利上有了进步，但还远远不够。 人物荣誉编辑 埃塞尔·玛丽·史密斯（Ethel Mary Smyth，1858-1944）是二十世纪初英国音乐史 上最重要的女作曲家，同时也是英国少数有名的歌剧作曲家之一。除了1894年到1925年间创作的六部歌剧，她的作品还包括轻音乐合奏及1891年的D大调弥撒曲。 史密斯1904年的歌剧《救援队》（The Wreckers）被托马斯·比彻姆（Thomas Beecham）称为“英国真正具有音乐天赋与活力的三四部歌剧之一”，而维多利亚女王更邀请史密斯到她在苏格兰的离宫演奏。1922年，史密斯受封英帝国第二等高级女勋爵（Dame Commander of the Order of the British Empire）。 |
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Today in the
history of music On March 11, 1903, Ethel Mary Smyth's "Der Wald" was the only opera performed by a woman at the Metropolitan Opera house. Ethel Mary Smyth (1858-1944) was one of the most important female composers in the history of British music.She was also a leading figure in the women's rights movement, encouraging women to focus on big, challenging jobs and not be afraid to sail away from shore. Born on April 23, 1858, to a military family in frymley, near aldershot, in southern England, Smith grew up with an air of intolerance.As a child, she traveled back and forth with her family between England and India, an experience that led to her love of travel and adventure. Against his father's orders, Smith, 19, fought a protracted hunger strike and strike, refusing to attend all church and social functions, and finally got the chance to go to Leipzig, Germany, to specialize in music.Here she met such famous composers as Tchaikovsky, Brahms, Clara Schumann and Grieg. Discrimination against female musicians forced her to rely on influential patrons, such as Empress Eugenie, wife of napoleon iii, to get the chance to play her work.Queen eugenie, Smith says, "has a strong feminist streak". Smith's class advantage made it unnecessary for her to be secretive about her same-sex orientation.In Europe in the late 19th and early 20th centuries, creative artists were highly regarded, and the abundance and freedom of sex was considered understandable and even natural to the sensitive and thoughtful mind of the artist. Ethel Smith described her relationships with women in several of her memoirs.She fell in love with Pauline treveling, queen eugenie, winnerita singer, lady Mary ponsonby, Edith Somerville and Virginia Woolf.She is a mountaineer, cyclist and golfer.She did radio broadcasts, including two pre-war meetings with the Kaiser in 1937 and her own 80th birthday celebration in 1938. Smith's romance is nothing short of a drama.Many of the feelings were mutual, but others were harder to tell, such as her love affair at 70 with a much younger Virginia Woolf. Smith lived for a decade with Harry Brewster, the brother-in-law of her then-lover Lisl von Herzogenberg.This is her only abnormal heterosexual relationship.She wrote to him: "I want to know why it is so easy for me to passionately love someone of the same sex, but not for the sex you belong to...I had a sound mind, and this confused me forever. Smith's homosexual love fits in well with her feminist ideas.She is a tireless advocate for women in the music business, urging female musicians to swear to their peers: "unless you give women the same status in the orchestra as men, unless women's work is taken seriously on your show, you're not going to get anywhere." Smith was a key figure in The Women's suffrage movement and wrote The March of Women, The anthem of The Women's Social and Political Union. During a suffragette demonstration, Smith spent two months in prison for smashing the Windows of the commissary.Thomas beauchamp described a "band of noble martyrs" marching through the prison yard, singing a march by Smith, who was conducting from the cell window with a toothbrush. Not surprisingly, she fell madly in love with Emmeline Pankhurst, the leader of the suffragette movement.There is evidence that this time it was not Smith's unrequited love. Among Smith's many mistresses were Empress Eugenie and Winnaretta Singer, an heiress to the Singer sewing machine company and a music philanthropist. Smith's love for women is inseparable from her passion for equality between men and women, and her feminist stand and same-sex desire are embodied in her music."I want women to focus on the big, challenging jobs and not be afraid to sail away from shore," she wrote. Ethel Smith died on May 8, 1944.She has left an inspiring legacy in the history of feminism and lesbianism. Today's video: 1. Ethel Smith's Double Concerto for Violin and Horn at Prague Spring；2. Ethel Smith's Opera "The Wreckers", 2015 Bard Summer Festival, New York. |
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| 埃塞尔·玛丽·史密斯（Ethel Mary Smyth ）和她的爱狗在一起 | |||||||||||||||||||||||||||||||||||||||||
| 1912年，埃塞尔因打破窗户被监禁两个月。当指挥家汤玛斯·比彻姆（Thomas Beecham）到哈洛威监狱（Holloway Prison）看望她时，她正拿着牙刷为一群犯人和女权参政论者担任指挥。埃塞尔是一名狂热的女权主义者和女权积极分子，她创作的《女人进行曲》（March of the Women）后来成为女权参政论团体的会歌。埃塞尔的经历告诉我们，我们已经在争取妇女权利上有了进步，但还远远不够。 | |||||||||||||||||||||||||||||||||||||||||
| Ethel was jailed for two months for breaking a window in 1912.When the conductor Thomas Beecham visited her in Holloway Prison, she was conducting a group of prisoners and suffragettes with a toothbrush.An avid feminist and Women's rights activist, hessel wrote "March of the Women," which became the anthem of feminist groups.Hessel's experience shows that we have made progress in fighting for women's rights, but not enough. | |||||||||||||||||||||||||||||||||||||||||
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埃塞尔·玛丽·史密斯（Ethel Mary
Smyth，1858-1944）是二十世纪初英国音乐史上最重要的女作曲家，同时也是英国少数有名的歌剧作曲家之一。除了1894年到1925年间创作的六部歌剧，她的作品还包括轻音乐合奏及1891年的D大调弥撒曲。
史密斯1904年的歌剧《救援队》（The Wreckers）被托马斯·比彻姆（Thomas Beecham）称为“英国真正具有音乐天赋与活力的三四部歌剧之一”，而维多利亚女王更邀请史密斯到她在苏格兰的离宫演奏。1922年，史密斯受封英帝国第二等高级女勋爵（Dame Commander of the Order of the British Empire） |
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Ethel Mary Smyth
(1858-1944) is a British musical history of the early 20th century She is one of the most important female composers and one of the few famous opera composers in Britain.In addition to six operas written between 1894 and 1925, her works include a light music ensemble and the 1891 mass in D major. Smith's 1904 opera "The Wreckers" was described by Thomas Beecham as "one of The three or four truly musically gifted and dynamic operas in England," and queen Victoria invited Smith to play at her departure house in Scotland.In 1922, Smith was made an Dame Commander of the Order of the British Empire. |
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埃塞尔·史密斯-a小调小提琴奏鸣曲，作品7 |
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| 论女性作曲家在古典音乐中的力量。 英国音乐史上最重要的女作曲家之一，女权运动的领导人物，一生致力于鼓励女性的古典音乐事业。 十九岁的史密斯违背父命，发奋苦读，终得以前往德国莱比锡（Leipzig）专攻音乐。在这里，她结识了 柴可夫斯基、勃拉姆斯、克拉拉·舒曼以及格里格等著名作曲家。 我们平常熟知的作曲家都是男性，所以女性作曲家创作的古典音乐作品是非常独特的，甚至可以刷新人们对古典音乐的刻板印象的。艺术无关性别，希望女人可以与男人在古典音乐界具有同等的力量。其实目前来讲我最喜欢的女性作曲家是夏米娜德。 | |||||||||||||||||||||||||||||||||||||||||
| On the Power of Female Composers in classical Music. The Power of female composers in classical music. One of the most important female composers in British music and a leading figure in the feminist movement, she devoted her life to encouraging women in classical music. At the age of 19, Smith defied his father and studied so hard that he was able to go to Leipzig, Germany, to study music. Here, she met Tchaikovsky, Brahms, Clara Schumann and Greig. The composers we are familiar with are all men, so the classical music works created by female composers are very unique and can even refresh people's stereotype of classical music. It is hoped that women can be as powerful as men in the classical music industry without regard to gender. Actually my favorite female composer so far is Sharmina De. One of the most important female composers of all time and a leading figure in the feminist movement, she devoted her life to encouraging women in classical music. At the age of 19, Smith defied his father and studied so hard that he was able to go to Leipzig, Germany, to study music. Here, she met Tchaikovsky, Brahms, Clara Schumann and Greig. The composers we are familiar with are all men, so the classical music works created by female composers are very unique and can even refresh people's stereotype of classical music. It is hoped that women can be as powerful as men in the classical music industry without regard to gender. Actually my favorite female composer so far is Sharmina De. | |||||||||||||||||||||||||||||||||||||||||
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埃塞尔·史密斯《救援队》2015年纽约巴德夏日音乐节[英字] Ethel Smyth The Wreckers Bard SummerScape Opera |
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https://fishercenter.bard.edu/events/ups-the-wreckers/ Ethel Smyth - The wreckers Bard SummerScape Festival 2015 Sosnoff Theater, july 2015. 埃塞尔·史密斯：救援队 2015年 纽约哈德逊谷夏日音乐节 2015年7月 纽约索斯诺夫剧院 Cast: Thirza Katharine Goeldner Avis Sky Ingram Pascoe Louis Otey Mark Neal Cooper Lawrence Michael Mayes Tallan Dennis Petersen Jack Kendra Broom Harvey Peter Van Derick One Man Daniel Hoy Children Cecelia Coleman Emily Roca Gavin Roca Director Thaddeus Strassberger American Symphony Orchestra Conductor Leon Botstei 埃塞尔·玛丽·史密斯（Ethel Mary Smyth）是二十世纪初英国音乐史上最重要的女作曲家，同时也是英国少数有名的歌剧作曲家之一，受封英帝国女勋爵。她还是女权运动的中的领军人物，她鼓励女性关注重大而富于挑战的工作，不要总是靠岸而行、而害怕扬帆远航。除了1894年到1925年间创作的六部歌剧，她的作品还包括轻音乐合奏及1891年的D大调弥撒曲。史密斯1904年的歌剧《救援队》（The Wreckers）被托马斯·比彻姆（Thomas Beecham）称为“英国真正具有音乐天赋与活力的三四部歌剧之一”。 以18世纪康沃尔郡村庄为背景，宗教狂热的村民将船只引诱到崎岖的大西洋沿岸，杀害船员并掠夺他们的货物，舞台以无数的货物木箱为主体与船只的残骸组合，堆砌杂乱成为了主体风格，木箱的表面也成为了很好的视频介质。船帆、木箱、桅杆结构成的舞台空间，视频投影作为气氛与剧情的营造和灯光配合营造不同的空间效果。那一轮明月在投影介质的不同的情况下，朦胧的感觉更加契合整个舞台的气氛。 |
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