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| 克里斯蒂安·费拉斯 (Christian Ferras 1933－1982） | |||||||||||||||||||||||
| 克利斯蒂安·费拉斯的小提琴艺术 | |||||||||||||||||||||||
[Violin] The Art of Сhristian Ferras |
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完美泛音的男人，费拉斯演奏西贝柳斯《d小调小提琴协奏曲》 20世纪60年代早期的表演最初由加拿大广播公司播出。 克利斯蒂安·费拉斯,小提琴 盖伊·布拉沙,钢琴 加拿大广播交响乐团 亚历山大·布洛特 指挥 |
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A man in perfect overtones,
Ferrars plays Sibelius's Violin Concerto in D Minor. Performances from the early 1960s originally broadcast by the CBC. Christian Ferras, violin Guy Bourassa, piano Orchestre de Radio-Canada Alexander Brott, conductor |
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音乐历史上的今天
1933年6月17日克里斯蒂安·费拉斯(Christian Ferras)出生在法国南部的图葛市（Le Touguet）。 |
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| 1965年克里斯蒂安·费拉斯 (Christian Ferras）签名图片 | |||||||||||||||||||||||
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Today in the
history of music Christian Ferras was born on 17 June 1933 in LeTouguet, in the south of France. Ferrars was born on June 17, 1933 in France (LeTouguet), the southern city of figure ge father in addition to the management of the hotel business, is itself a violin pretty well music lovers, so son violin education naturally by the father of enlightenment, but ferrars genius, less than a few months my father cannot give him in class, and began to help him find a teacher, first of all, he and summer in accordance with the "first (MarcelChailley) study, in 1941 entered the loch (Nizza) music college, learned than stacy (mount istesi),Every two years in nice local orchestra accompaniment personal premiere, graduated in 1944 in the most excellent grades, then only eleven ferrars was immediately went to Paris to study again, and was admitted to law court music of choice - music institute in Paris, by Mr Inside for the first (r. enedetti) accept for the disciples, and in accordance with the issa (Ysaye) students Carl victor (Calvet) indoor sound. 1946, ferrars in thirteen years old age and unusual people special performance, obtain the violin playing and chamber music "first prize", and obtains the diploma, this makes many students and teachers to impress by the young, after graduation immediately in Paris Pasdeloup local orchestra accompaniment costar Beethoven violin association, gather together, because of the premiere, immediately caused a sensation in the local scene, in the second year was invited to London for the British Decca records recording Alice was found and the Spanish composers DE (F.E lizalde) violin concerto (issued into CD, read out).For ferrars first recordings of personal life, but playing career progresses day by day event and cannot meet the very strict self ferrars, in order to improve their performance level again, he continued to worship the violin master nunez KeWeiShi, but the word is not smoothly at the beginning, the process of the reason is not in ferrars itself ability, but at that time, come to find the students master learning is countless, plus his old (more than sixty-five years old), so at first intention is not high, then the teacher under the highly recommended of Calvert, ferrars was finally completed, finally a close disciple of the master. It was enescu's full teaching that enabled ferrars, who was already technically proficient, to advance his musical attainments. Ferrars himself recalled that, though my skill was taught by other teachers, I regarded Enescu as the most important teacher in my learning.Master can see two people close relationship, 1948 ferrars violin competition first prize of the French Scheveningen, when his brother Manuel is one of the review committee), the next year he took part in the famous long - great game, won the first prize weight of the silver award, the first world war makes ferrars's reputation as a formal onto the international stage, at the same time in the contest of another windfall is bobby know pianist mining, (P.B arbizet, 1922-1990, when the world piano group fifth), although two people age difference is eleven, but they hit it off,Barbizet was ferrars' sole accompanist in the years that followed, with the exception of concerto concerts, and they worked together for twenty years, with a sympathetic friendship that was not often seen on the lute. Christian Ferrars subsequently made a number of recordings with EMI, including a 1958 Beethoven piano and violin sonata with Pierre Barbizet;Alban Berg's chamber concerto and his violin Concerto "Memory of an Angel".In 1964, he recorded J. Brahms's violin concerto for deutsche Grammophon with Herbert von Karajan, and later concertos for Sibelius, Tchaikovsky, Beethoven and Bach, among his most admired recordings.He continued to record with the German Phonograph Company: with Barbizet, violin sonatas by J. Brahmss, Robert Schumann, Cesar Franck and Lekeu;There is also a record with Jean-Claude Ambrosini on piano. In 1975, Christian Ferrars was honored by the Paris Conservatory for his work and withdrew from regular public performances for health reasons.He performed again in Paris on 9 March 1982 with Alain Lefevre and 6 May with Pierre Barbizet.On August 25, 1982, he gave his last concert in Vichy.Ferrars struggled with severe depression all his life.He committed suicide in Paris on September 14, 1982. Today's videos: 1. Christian Ferrars' violin Art; 2.Ferrars plays Sibelius' Violin Concerto in D Minor. |
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| 克里斯蒂安·费拉斯 (Christian Ferras)与卡拉扬并柏林爱乐乐团合作的《贝多芬小提琴协奏曲》唱片封面。 | |||||||||||||||||||||||
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费拉斯这种能在演奏中塑造即兴性戏剧风格的演奏家是很中指挥皇帝卡拉扬心意的。众所周知，卡拉扬不仅是一位追求戏剧性的大师，更是一位缔造戏剧性的大师。他最喜欢与之合作的器乐独奏者就应是这种能根据他的指挥意图在情绪上大开大合的艺术家。正因如此，费拉斯也就成为能与卡拉扬建立长期良好合作关系的为数甚少的小提琴大师之一，与此同时，借助于卡拉扬的世界知名度和以“柏林爱乐乐团”作为品牌的音乐会，费拉斯的人气更是直线上升，风靡乐坛。 费拉斯演奏的贝多芬《D大调协奏》也是他提琴艺术的代表作。几乎从小提琴独奏进入的第一个乐句中人们就能体味出他与众不同的诠释立场。他为这首名曲设计了一种矜持中蕴活泼、平稳中见激情的风格基调。在尊重原作整体构思的基础上，费拉斯试图通过在主题之间的经过句和华彩过门中的速度、节奏重音的不同变换为贝多芬雍容典雅、亘古不变的经典杰作注入个性活力。 |
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| 克里斯蒂安·费拉斯 (Christian Ferras）演奏恩斯特奏鸣曲的唱片封面 | |||||||||||||||||||||||
| 相比较而言，费拉斯演奏的莫扎特是他最本质的艺术天性的天然流露，那就是高贵雅致、纤丽细腻。他本着一颗平常心来演奏莫扎特，不事渲染矫饰，甚至连别人演奏通常必不可少的罗可可风的装饰音也不用，音量和音色的对比控制调适到最小的范围之内，使乐曲洋溢着一种从容恬浚、闲适悠然的田园牧歌般意趣，达到了“最好的技巧在于无技巧”的忘我境界。如此看来，费拉斯是那类风格伸展性很强的小提琴大师，对帝王相的卡拉扬与他的柏林爱乐乐团能发挥出激情洋溢的戏剧效果；而对贵族气的萨金特爵士和他麾下的皇家爱乐乐团则又能一展其“大家闺秀”般的矜持和温雅。尽管他的音质略显单薄，音色的变化也不及他的那些法比学派的前辈大师，在作品中颇具独特见解的分句法似尚有商榷之处，然而有一点是毋庸置疑的，那就是从他的演奏中人们看不到绵延繁衍百多年的法比提琴学派的衰败，和没落，相反见证了这样一个规律：一种艺术流派的兴废更替并不像人们想象的那般迅捷和彻底，那种渗入到艺术家心灵和骨髓的艺术思想和美学观念并不会由于一种新的持弓姿式、一辈新人的涌现戛然而止。从这个意义上说，费拉斯堪称是进入20世纪70年代仍活跃于世界乐坛的法比提琴学派的优秀代表。 | |||||||||||||||||||||||
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Ferrars
was the kind of player who could shape the improvisational drama
in his performance that the emperor Karajan wanted.As we all
know, Karajan is not only a master of pursuing drama, but also a
master of creating drama.The instrumental soloists with whom he
most liked to work were the kind of artists who could open up
emotionally to his conducting intentions.As a result, Ferrars
became one of the few masters of the violin who were able to
form a long-term relationship with Karajan, while Ferrars's
popularity skyrocketed through Karajan's worldwide popularity
and concerts under the brand of the Berlin Philharmonic. Ferrars' performance of Beethoven's D major Concerto is also his masterpiece of violin art.His distinctive interpretive stance can be felt almost from the first phrase entered by the violin solo.He designed a tone that was reserved, lively, smooth and passionate.On the basis of respecting the overall conception of the original work, Ferrars tries to inject personality into Beethoven's elegant and timeless classic masterpiece by changing the passage between themes and the speed and rhythm stress in the colorful passage. |
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| 克里斯蒂安·费拉斯 (Christian Ferras）与卡尔·伯姆并柏林爱乐乐团合作演奏莫扎特、贝多芬小提琴协奏曲。 | |||||||||||||||||||||||
| Ferrars's Mozart, by contrast, was a natural outpouring of his most essential artistic nature, noble and delicate.He is in line with a common heart to play Mozart, rendering pretensions, not even the others play usually demonstrates the wind grace note also need not indispensable, volume and timbre contrast control within the range of adjustment to a minimum, make music permeated with a kind of easy tian deepened, leisurely and carefree the idyll interest, achieve the "best skill lies in no skill" to the state.Ferrars, then, was a master violinist of the expansive style, capable of a passionate dramatic effect on the imperial Karajan and his Berlin Philharmonic orchestra;The aristocratic Sir Sargent and his Royal Philharmonic orchestra were able to display their "ladylike" reserve and gentleness.Despite his tone slightly thin and the change of tone is not as good as his predecessors in the law school than master, has unique insights in the work of clauses method seems still debatable, one thing is, no doubt, however, is that people can't see from his play lived hundreds of years of law school's decline than violins, and fall, instead witnessed such a rule: a change of style won't be as swift and thorough, as people think that seep into the soul artists and artistic thinking of the bone marrow and aesthetic concepts are not due to a new with bow posture, the emerging of the new generation.In this sense, Ferrars was an excellent representative of the Fabian school that entered the 1970s and was still active in the world of music. | |||||||||||||||||||||||
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| 费拉斯常年的钢琴伴奏合作者盖伊·布拉沙(Guy Bourassa ) | |||||||||||||||||||||||
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盖伊·布拉沙。钢琴家，教师，b
St-Raymond-de-Portneuf, 1923年7月30日，靠近魁北克市，2001年10月5日死于魁北克市。 布拉沙,人 布拉沙。钢琴家，教师，b St-Raymond-de-Portneuf, 1923年7月30日，靠近魁北克市，2001年10月5日死于魁北克市。 他在莱维斯学院与阿方斯·塔迪夫(Alphonse Tardif)一起开始了音乐训练，然后在CMM学习到1944年，与杰曼·马雷瑟(Germaine Malepart)在CMM学习，1944-6年在纽约与罗伯特·卡萨德斯(Robert Casadesus)一起学习。1947年夏天，他在枫丹白露的美国监狱里上课，在接下来的两个学期里，他在巴黎和让·巴塔拉一起学习。1946年，他开始在电台和电视上演出，并作为独奏者出现在MSO和魁北克交响乐团。 1948- 1988年他在CMQ教钢琴。他是一位广受欢迎的伴奏者，曾为皮埃尔·阿拉里、皮埃尔·布特et、拉乌尔·约宾和利奥波德·西蒙诺、小提琴家克里斯蒂安·费拉斯和大提琴家皮埃尔·福涅尔演奏。1954年，布拉沙在加拿大广播公司广播节目“首演”上首次表演了瑟奇·加兰特的《钢琴变奏曲》。同年，他与皮埃尔·博德(Pierre Beaudet)举办了一系列钢琴二重奏独奏会，并与博德(Pierre Beaudet)一起录制了约翰·贝克维斯(John Beckwith)的《舞曲》(Music for Dancing)和维奥莱特·阿彻(Violet Archer)的《十首民歌》(1954)。他还录制了Rodolphe Mathieu的奏鸣曲(1956)。1964年11月22日，在蒙特利尔举行的沙龙落成典礼上，他是香槟协奏曲的独奏者。他是音乐学者Juliette Bourassa-Trepanier的兄弟。 |
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| 盖伊·布拉沙(Guy Bourassa )与费拉斯 | |||||||||||||||||||||||
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Guy
Bourassa. Pianist, teacher, b St-Raymond-de-Portneuf, near
Quebec City, 30 Jul 1923, died Québec City 5 Oct 2001. Bourassa, Guy He began his musical training with Alphonse Tardif at the Collège de Lévis, then studied until 1944 with Germaine Malépart at the CMM, and 1944-6 with Robert Casadesus in New York. In the summer of 1947 he took courses at the American Cons at Fontainebleau, and for the next two semesters he studied with Jean Batalla in Paris. He began giving radio and TV recitals in 1946 and appeared as a soloist with the MSO and the Quebec Symphony Orchestra. He taught piano 1948-88 at the CMQ. A sought-after accompanist, he has played for Pierrette Alarie, Pierre Boutet, Raoul Jobin and Léopold Simoneau, the violinist Christian Ferras, and the cellist Pierre Fournier. In 1954 Bourassa gave the first performance of Serge Garant's Variations pour piano on the CBC radio program 'Premières'. In the same year he presented a series of piano duet recitals with Pierre Beaudet, and, also with Beaudet, recorded John Beckwith's Music for Dancing and Violet Archer's Ten Folk Songs (1954). He also recorded Rodolphe Mathieu's Sonata (1956). At the inauguration of Salle Claude-Champagne in Montreal, 22 Nov 1964, he was the soloist in the Champagne Concerto. He was the brother of the musicologist Juliette Bourassa-Trépanier. |
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| 完美泛音的男人，费拉斯演奏西贝柳斯《d小调小提琴协奏曲》 | |||||||||||||||||||||||
| A man in perfect overtones, Ferrars plays Sibelius's Violin Concerto in D Minor. | |||||||||||||||||||||||
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