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| 贝拉·巴托克（Béla Bartók，1881－1945） | |||||||||||||||||||||||
莉莎·费尔施特曼演奏巴托克 《第一小提琴协奏曲》荷兰广播爱乐乐团 |
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Lisa felstermann plays bartok's "violin concerto no. 1"with the Dutch radio philharmonic orchestra |
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音乐历史上的今天
1958年5月30日，巴托克的《第一小提琴协奏曲》首度在巴塞尔演出。50年前他把该作品献给小提琴家斯特菲·盖尔（Steffi
Geyer),而后者仅仅保存了乐谱却从未演奏过此曲。 |
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| 巴托克和农民在一起（Béla Bartók)在特兰西瓦尼亚记录民歌 | |||||||||||||||||||||||
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下层阶级的人，越是坚持传统，就越好。但是，最高阶级的人必须努力使自己尽可能地摆脱它。没有中间道路。所以中产阶级，站在最高人民和农民阶级之间，由于它的愚蠢，实际上是不愉快的。我们喜欢农民的天真烂漫，这种天真烂漫表现在一切事物上，往往带有原始的力量;最高人民的智力力量令人印象深刻，但中产阶级的愚蠢——包括大多数“绅士”——缺乏天生的天真，令人难以忍受。 1907年7月27日，巴托克致小提琴家斯特菲·盖耶的一封信。音乐, 马尔科姆·吉利斯和艾德丽安·贡博兹，未出版 |
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With the
lowest class, the folk, it is all the nicer the more they stick
to tradition. But people of the highest class must strive to
free themselves from it, as far as possible. There is no middle
way. ... So the middle class, which stands between the highest
people and the peasant class, is, owing to its stupidity,
actually unenjoyable. We like the childlike naivety of the
peasants, which manifests itself in everything often with
primitive strength; the intellectual strength of the highest
people is impressive, but the idiocy of the middle
class—including most of the “gentry”—which lacks natural
naivety, is insufferable. Bartók to violinist Stefi Geyer, July 27, 1907, in Bartók Letters. The Musical Mind, ed. Malcolm Gillies and Adrienne Gombocz, unpublished |
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| 我坚信并承认，每一种真正的艺术都是在我们从外部世界获得的印象——“经验”——的影响下产生的。我无法想象艺术作品，除了创作者表现他无限的热情、绝望、悲伤、愤怒、复仇、扭曲的讽刺、讽刺。我一直不相信这一点，直到我亲身体验到，一个人的作品实际上比传记更准确地展现了生活中值得注意的事件和强烈的激情。奇怪的是，迄今为止，在音乐中，只有热情、爱、悲伤，也许还有绝望——也就是所谓的崇高情感——作为动机。然而，只有在我们这个时代，复仇、夸张和讽刺才会或将会出现在音乐中。所以，也许，与早期明显的理想主义相反，当当代构图坦率而不加区别地表现出来的时候，我们就有可能称它为现实主义。 | |||||||||||||||||||||||
| I strongly believe and profess that every true art arises under the influence of impressions—“experiences”—which we gather from the external world. ... I cannot visualize artistic productions in any way other than the creator’s manifestation of his boundless zeal, despair, grief, rage, vengeance, twisted irony, sarcasm. I did not believe this until I experienced for myself that one’s work actually shows more exactly than a biography the noteworthy events and driving passions of a life. ... It is strange that hitherto in music only zeal, love, grief and perhaps despair—that is, the so-called sublime emotions—have acted as motivations. While it is only in our time that vengeance, hyperbole and sarcasm do or will live in music. So, perhaps, in contrast to the idealism evident in earlier times it is possible to call contemporary composition realistic when it candidly and indiscriminately. | |||||||||||||||||||||||
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| 巴托克心灵之诗所托之人——小提琴家斯特菲·盖尔（Steffi Geyer)，当年巴托克把优美的音诗题献给她，但她并未珍惜，也未演奏这首乐曲。 | |||||||||||||||||||||||
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| 巴托克第一小提琴协奏曲总谱的第一页（Paul Hindemith） | |||||||||||||||||||||||
| 1943年10月，巴托克第一次听到了自己的《小提琴协奏曲》的演出，‘那是在纽约，由托西·斯皮瓦科夫斯基演奏。巴托克听后写道：“精彩极了，独奏、指挥，乐队都是第一流的！（作者也是！）”下一个月，他第一次和耶胡迪·梅纽因相见，深深为梅纽因的演奏所感动。梅纽因在一次音乐会上演出了巴赫的《C大调奏鸣曲》和巴托克的《第一小提琴奏鸣曲》。巴托克写信给克里尔夫人说：“我的奏鸣曲……拉得精彩极了。如果演奏者是一位真正的大艺术家的话，就不需要作曲家给他帮助、给他出主意。他自己会得其神而传之。有这样一位青年艺术家对于并不叫座的现代音乐作品感兴趣，而且喜欢现代音乐，又拉得那样‘毫无缺点’，真是莫大的幸事！”（1943年12月17日）。 ——《巴托克传》（拉约什·莱斯瑙伊） | |||||||||||||||||||||||
| In October 1943, bartok heard his first performance of "violin concerto," played by tosi spivakovsky in New York.When bartok heard this, he wrote, "it was wonderful. The solos, the conductor, and the orchestra were superb!(so does the author!)"The next month, he met Yehudi Menuhin for the first time and was deeply moved by menuhin's performance.Menuhin performed Bach's sonata in C major and bartok's sonata for the first violin at a concert.Bartok wrote to Mrs. Collier: "my sonata...It was a wonderful performance.If the performer is a truly great artist, he does not need the help and advice of the composer.He himself will receive his god and pass it on.It is a great blessing to have a young artist who is interested in modern music, which is not a hit, and who enjoys it, and who plays it so 'flawlessly'!""(December 17, 1943). ——The life of bartok (rajesh lesnouy) |
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| 耶胡迪·梅纽因演奏巴托克第一小提琴协奏曲的唱片封面 | |||||||||||||||||||||||
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Today in the
history of music On May 30, 1958, bartok's violin concerto no. 1 was first performed in Basel.He dedicated it 50 years ago to the violinist Steffi Geyer, who kept the score but never played it. When Stefi Geyer rejected Béla Bartók’s proposal of marriage, the composer fell into a deep depression. Unable to sleep, he lost his appetite and obsessed with not being able to attain something he truly desired. And for many years to come, the “Stefi Geyer” theme from his first violin concerto served as a musical signpost for his mental anguish. His mood gradually brightened as he drew emotionally closer to a teenage girl named Márta Ziegler. She was the daughter of an inspector-general of the Budapest police, and together with her sister Herma had been studying privately with Bartók since 1907. Márta later recalled, “Béla was always teaching, he gave of his own experience and wanted to make his circle more developed and learned. He acquainted my older sister and me with the Pest museums and galleries while we were still his pupils. He taught us the names of the stars, how to prepare the insects and moths that he collected, he acquainted us with the poetry of Endre Ady’s and his beloved French writers: Flaubert, Maupassant, Daudet and one of his best-loved books Jacobsen’s Niels Lyhne. He also used to play unknown works for me on the piano in the evenings he was not too busy and I had to guess the composer.” On 16 November 1909, Bartók took the sixteen-year-old Márta for a walk. When they stopped at his mother’s house, she asked if Márta was staying for dinner. It was then that Bartók revealed to her that they had just gotten married! Their son Béla Jr. was born on 22 August 1910, and Márta became deeply involved in the process of transcribing and editing the folk songs Bartók recorded during his extensive field trips. Eventually, he would even take his young wife on long research trips to Algeria and other far flung places. He also completed and published several sets of piano pieces that were conceived during the early stages of his relationship with Márta. A draft of the Burlesque No. 1, “Quarrel,” which is dedicated to Márta, shows an amusing entry. Bartok writes, “Please choose one of the titles: “Anger because of an interrupted visit,” or Rondoletto à capriccio,” or “Vengeance is sweet,” or “Play it if you can” or “November 27.” Bartók and Márta, so it seemed, were a perfect private and professional match. Yet there were distractions, as there always are. In the summer of 1915 Bartók was introduced to Klára, the teenage daughter of a chief forestry engineer. Klára was intelligent and strong-willed and had a keen interest in poetry and literature. Ten of her poems were published in a local journal, and Bartók fell deeply in love. He proposed divorcing Márta in order to marry her, but Klára was not remotely interested in marrying a man twenty years her senior. Eventually Bartók broke off the relationship, which created enormous psychological turbulence for him and his marriage. The direct outcome of this liaison was a set of Five Songs Op. 15. Klára had written the words to four of the five songs, with individual titles like “My Love,” “Nights of Desires,” and “In Vivid Dreams” conveying her sexual awakening. Bartók was well aware of the potential scandal and claimed to have written the texts himself. Yet nobody believed him and rumors started to spread. Although deeply wounded, Márta decided to overlook her husband’s indiscretion. She also consented to her husband’s and her son’s conversion to Unitarianism on 25 July 1916. Father and son joined the Mission House Congregation of the Unitarian Church in Budapest, and Bartók briefly chaired the music committee. Bartók also drew his entire family into an exercise and community living approach termed “Freikörperkultur,” which loosely translates as “Free Body Culture.” It advocated a naturistic communal experience of being nude, but without a direct relationship to sexuality. Bartók and his family would exercise in their front garden completely naked, causing rather bad relations with the neighbors. Márta later recalled, “Bartók would exercise naked each morning and take the sun as early as possible. He could stand the sun particularly well and while sunbathing he would go on working, studying languages, scoring his compositions.” It was even reported that Bartok worked six to eight hours a day on the score of Bluebeard’s Castle in his solarium wearing only a pair of sunglasses.” Márta was willing to overlook a great deal, however, she was not about to turn a blind eye in 1923, when Bartók had once again fallen in love with a young piano student. The new object of his attention was the 19-year-old Edith Pásztory, and after a heated exchange with his wife, Bartók sent Márta to her home territory of Transylvania with their son Béla. Márta, so it seems, was told not to return. Apparently it was Márta’s suggestion that they should divorce, which they did without acrimony in June 1923. Two months after the divorce, Bartók married Ditta and their son Péter was born in 1924. But that’s the subject of our next episode Video of the day: 1. Lisa felsterman playing bartok's violin concerto no. 1; 2.2. Zoltan Szckely -- bartok's violin concerto no. 1. |
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| 贝拉·巴托克和第二任妻子玛尔塔·齐格勒(Marta Ziegler) | |||||||||||||||||||||||
| 玛尔塔·齐格勒(Marta Ziegler)一篇未公开的日记 | |||||||||||||||||||||||
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贝拉·巴托克的一个特点是他总是在教书，他给出自己的经验，想让他的圈子更发达，更有学问。当我们还是他的学生时，他就把佩斯博物馆和美术馆介绍给我和姐姐。他教我们星星的名字，如何准备他收集的昆虫和飞蛾，他向我们介绍了安迪尔迪和他喜爱的法国作家的诗歌:福楼拜，莫泊桑，道代特和他最喜爱的书之一雅各布森的尼尔斯莱恩。 他过去常常在晚上不忙的时候用钢琴为我演奏不知名的作品，我只能猜测作曲家……当我问他收到关于我们儿子贝拉出生的电报后的第一个想法是什么时，他回答说(眼里含着泪水):“我的想法是玛尔塔·齐格勒(Marta Ziegler)，《十三年》(Thirteen Years)，最初以《超级贝拉·巴托克》(Uber Bela Bartok)的名字出版，多可文献展(Documenta Bartokiana 4, ed. Denijs Dille) |
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One of Béla
Bartók’s characteristic qualities was that he was always teaching, he
gave of his own experience and wanted to make his circle more developed
and learned. He acquainted my older sister and me with the Pest museums
and galleries while we were still his pupils. He taught us the names of
the stars, how to prepare the insects and moths that he collected, he
acquainted us with the poetry of Endre Ady’s and his beloved French
writers: Flaubert, Maupassant, Daudet and one of his best-loved books
Jacobsen’s Niels Lyhne. He used to play unknown works for me on the piano on the evenings he was not too busy and I had to guess the composer ... When I asked what his first thought was on receiving the telegram about the birth of our son Béla, he replied (with tears in his eyes): “My thought was that I would teach him to write.” Márta Ziegler, “Thirteen Years,” originally published as “Über Béla Bartók,” in Documenta Bartókiana 4, ed. Denijs Dille (Budapest, 1970), 173–7 |
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| 莉莎·费尔施特曼（lisa felstmann）在演奏 | |||||||||||||||||||||||
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荷兰小提琴家莉莎·费尔施特曼与以热情的演奏风格和积极的台风而闻名。莉莎·费尔施特曼与生于俄罗斯的一个音乐世家，从小便受音乐的熏陶，可谓耳濡目染。最先对其产生影响的是小提琴家莉莎·费尔施特曼与（Philipp
Hirschhorn）。在此之后，她分别师从于阿姆斯特丹音乐学院的赫尔曼·克雷伯斯、费城柯蒂斯学院的艾达·卡瓦菲恩和伦敦的大卫·泰克诺，从他们那里接受到了正规的钢琴教育。2006年，她获得了荷兰的音乐家所能获得的最高荣誉——荷兰音乐奖（Dutch
Music Award）。 她也曾在纽约爱丽丝·图利音乐厅、伦敦维格莫尔大厅、维也纳金色大厅、阿姆斯特丹皇家大会堂进行演出，还出席过一些主要的国际室内乐音乐节。此外，莉莎·费尔施特曼与自2007年起担任代尔夫特室内音乐节的艺术总监，这是荷兰最受欢迎的音乐节之一。 莉莎·费尔施特曼与各个乐团都有过合作，其中包括BBC威尔士国家交响乐团、伦敦爱乐乐团、达拉斯交响乐团、旧金山交响乐团、埃森爱乐乐团、魏玛国家管弦乐团和石勒苏益格 - 荷尔斯坦节日乐团、比利时国家交响乐团、佛兰德斯交响乐团、布拉格广播交响乐团、马尔默交响乐团、卑尔根爱乐乐团、读卖日本乐团、马来西亚爱乐乐团、香港爱乐乐团以及几乎全部的荷兰乐团，包括阿姆斯特丹皇家大会堂管弦乐团和鹿特丹爱乐乐团。她曾合作过的指挥家包括 Stefan Blunier, Frans Brüggen, Christoph von Dohnányi, Claus Peter Flor, Neeme Järvi, Yakov Kreizberg, Zdeněk Macál, Jun Märkl, Gianandrea Noseda, Marc Soustrot, Leonard Slatkin, Thomas Søndergård, Karl-Heinz Steffens, Mario Venzago, Jan Willem de Vriend 和Jaap van Zweden。 |
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| 莉莎·费尔施特曼（lisa felstmann） | |||||||||||||||||||||||
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Dutch violinist
lisa felstmann is known for her passionate playing style and aggressive
style.Lisa felsterman was born in Russia to a musical family. She was
influenced by music when she was a child.It was first influenced by the
violinists, lisa and Philipp Hirschhorn.After that, she received a
formal piano education from hermann klebber of the conservatory of music
in Amsterdam, Ada cavafian of the Curtis institute in Philadelphia, and
David tekno of London.In 2006, she won the Dutch Music Award, the
highest honor a Dutch musician can receive. She has also performed at the Alice tully concert hall in New York, wigmore hall in London, the golden hall in Vienna, the royal hall in Amsterdam, and at some of the major international chamber music festivals.In addition, lisa felstmann has been artistic director of the delft indoor music festival, one of the most popular in the Netherlands, since 2007. Lisa fairfax shi terman co-operated with the every orchestra, including the BBC national orchestra of wales, Dallas, London philharmonic orchestra, the San Francisco symphony orchestra, Essen philharmonic, weimar national orchestra and schleswig-holstein, Stan festival orchestra, national symphony orchestra, Flanders Belgium radio symphony orchestra, Prague symphony orchestra, malmo symphony orchestra, bergen philharmonic orchestra, the yomiuri Japanese band, the Malaysian philharmonic, the Hong Kong philharmonic orchestra, and almost all of the Dutch bands, including the royal hall of Amsterdam and Rotterdam philharmonic orchestra orchestra.She has worked with the conductor including Stefan Blunier and Frans Bruggen, Christoph von Dohnanyi, Peter Flor, Claus Neeme Jarvi and Yakov Kreizberg, Zden ě k Macal, Jun Markl, Gianandrea Noseda, Marc Soustrot, Leonard Slatkin,Thomas S ndergard, karl-heinz Steffens, Mario Venzago, Jan Willem DE Vriend and Jaap van Zweden. |
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| 迪马·斯洛波德尼乌克 (Dima Slobodeniouk ) | |||||||||||||||||||||||
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迪马·斯洛波德尼乌克 Dima Slobodeniouk 称赞他深深了解和智能艺术领导下,迪马·斯洛波德尼乌克 一直从事的音乐指挥的位置Sinfonica德加利西亚自2013年以来,结合他最近的职位是校长拉赫蒂交响乐团的指挥家和艺术总监的西贝流士节日后在2016年他的任命。他把自己的俄罗斯血统和他后来的祖国芬兰的文化影响联系起来，利用了这两个国家强大的音乐遗产。 上个赛季，他参加了自己的首场音乐会，包括哥本哈根、哥德堡和塔林之旅。他与柏林爱乐乐团等管弦乐队,Gewandhausorchester莱比锡Symphonieorchester des Bayerischen Rundfunks,无线电Sinfonieorchester柏林,ORF Radio-Symphonieorchester维恩,伦敦爱乐乐团、伦敦交响乐团、芬兰广播交响乐团、鹿特丹爱乐乐团、芝加哥、休斯顿和巴尔的摩以及悉尼交响乐团。 2019年夏天，斯洛波丹尼乌克将与波士顿交响乐团和耶菲姆·布朗夫曼(Yefim Bronfman)一起重返坦格伍德音乐节，之后他将于今年10月在波士顿举行的该乐团主要系列演出中首次亮相。他在NHK交响乐团、首尔爱乐乐团、Tonhalle Orchester Zurich和Simon Trpceski、维也纳交响乐团、旧金山交响乐团和Sergey Khachatrian以及克利夫兰交响乐团首次登台演出。他回到伦敦爱乐乐团，荷兰广播爱乐乐团和休斯顿交响乐团。他以斯特拉文斯基的《圣咏交响曲》作为加利西亚的Orquesta Sinfonica de Galicia 's 19/20 season的开篇;在巡回演出中，曾与伊莎贝尔·福斯特(Isabelle Faust)独奏的马德里民族中心音乐剧院(Centro Nacional de Difusion Musical Madrid)演出。与拉赫蒂交响乐团一起，他兴奋地与卡里塔·马提拉等独奏者一起庆祝西贝柳斯音乐节20周年。其他独奏者,他与包括尼古拉•Altstaedt列夫林里Andsnes, Khatia Buniatishvili, Vilde Frang,瓦迪姆Gluzman,约翰尼斯•莫泽Baiba Skride,西蒙•Trpčeski Yuja小王和弗兰克彼得·齐默尔曼。 |
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| 迪马·斯洛波德尼乌克 (Dima Slobodeniouk ) | |||||||||||||||||||||||
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Lauded for
his deeply informed and intelligent artistic leadership, Dima
Slobodeniouk has held the position of Music Director of the Orquesta
Sinfónica de Galicia since 2013, which he combines with his more recent
positions as Principal Conductor of the Lahti Symphony Orchestra and
Artistic Director of the Sibelius Festival following his appointment in
2016. Linking his native Russian roots with the cultural influence of
his later homeland Finland, he draws on the powerful musical heritage of
these two countries. Last season he gave his debut with the Het Concertgebouw Orkest, including a tour to Copenhagen, Gothenburg and Tallinn. He works with orchestras such as the Berliner Philharmoniker, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks, Radio Sinfonieorchester Berlin, ORF Radio-Symphonieorchester Wien, London Philharmonic, London Symphony Orchestra, Finnish Radio Symphony, Rotterdam Philharmonic, Chicago, Houston and Baltimore as well as Sydney Symphony Orchestras. Summer 2019 sees Slobodeniouk return to the Tanglewood Music Festival, with the Boston Symphony Orchestra and Yefim Bronfman, before he gives his debut in the orchestra’s main series in Boston in October this year. Further highlights are his debuts with the NHK Symphony Orchestra, Seoul Philharmonic Orchestra, Tonhalle Orchester Zürich with Simon Trpceski, with the Vienna Symphony, with the San Francisco Symphony with Sergey Khachatrian and with the Cleveland Orchestra. He returns to the London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra and Houston Symphony with Kirill Gernstein. He opens the Orquesta Sinfónica de Galicia’s 19/20 season with the Symphony of Psalms by Stravinsky; on tour together, appearances include the Centro Nacional de Difusión Musical Madrid with Isabelle Faust as soloist. With Lahti Symphony he is excited to celebrate the 20th anniversary of the Sibelius Festival with soloists such as Karita Mattila. Other soloists he works with include Nicolas Altstaedt, Leif Ove Andsnes, Khatia Buniatishvili, Vilde Frang, Vadim Gluzman, Johannes Moser, Baiba Skride, Simon Trpčeski, Yuja Wang and Frank Peter Zimmermann. |
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| 佐尔坦·什克利(Zoltan Szckely)演奏——巴托克《 第一小提琴协奏曲》 | |||||||||||||||||||||||
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