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| 库特·魏尔（Kurt Weill, 1900-1950) | ||||||||||||||||||||||||||
库特·魏尔芭蕾《小资产阶级七大罪》 |
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Kurt Weill 7 peccati capitali dei piccolo borghesi |
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| 剧本：Brecht 作曲：Kurt Weill 指挥：Ferruccio Scaglia 舞蹈员：Alfredo Raino, Milva, Taina Beryl, Carlo Gaifa, Ernesto Gavazzi, Gastone Sarti e Leonardo Monreale. 编舞：Ugo Dell'Ara 导演：Vito Molinari | ||||||||||||||||||||||||||
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音乐历史上的今天
1933年6月7日，布莱希特和库特·威尔在逃离纳粹德国后创作的歌剧《资产阶级的七宗罪》（The Severn Deadly Sins of
the Bourgeoisie）在巴黎上演时引发骚乱，当地一名著名作曲家弗洛伦特·施密特（Florent
Schmitt)冲上舞台大叫：“希特勒万岁！” |
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| 库特·魏尔（Kurt Weill, 1900-1950) | ||||||||||||||||||||||||||
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| 库特·魏尔（Kurt Weill）和夫人洛特·莱妮亚（Lotte Lenya） | ||||||||||||||||||||||||||
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Today in the
history of music As Brecht and Kurt Weill's opera "The Severn Deadly Sins of The Bourgeoisie" caused chaos in Paris on Jun 7, 1933, a noted local composer, Florent Schmitt, rushed to The stage and shouted "Heil Hitler!" Weill, Kurt, was born in 1900 in Dessau.He died in New York in 1950.German composer.He studied at the Berlin High School of Music from 1918 to 19 (he studied composition under Humperdink), and took private lessons from Busoni from 1921 to 24.From 1918 to 21, he was an opera tutor at Dessau and then a theatre conductor at Ludenshaid.The creation of a new popular opera school was widely noticed in Germany and was extremely hostile to the Nazis when they came to power.The first opera, Der, was performed in Dresden in 1926.1927 and beto er, Brecht, Bertolt Brecht) cooperation, the creation of Lindbergh transatlantic radio cantata, creation and cooperation to sing opera "the elder brother of the Omaha," (Mahagonny), in 1929 they will this rewriting, become irony opera in three ACTS the American way "of the City of Omaha elder brother's Rise and Fall (Rise and Fall of the City of Mahagonny). In 1928 he was in Berlin,Staged a modern version of The Beggar Opera (The Beggar 's Opera), called "The Threepenny Opera" (Die Dreigroschenoper) (" The Threepenny Opera) successful, content irony at that time, The problems of German life, it's jazz, sharp however dazzling instruments foil The atmosphere of that particular period, even people who have experienced this kind of life can understand.Brecht's lyrics and the singing of Lotte Lenya (later To be Weill's wife) were important factors in the opera's success.Weill was driven out of Germany in 1933, first to Paris, then to London, and finally to New York in 1935.In the United States he created several successful Broadway musical comedies that lacked the spice of his German opera but were valuable.The moving melody "Songs of September" was composed for "Kniekerbock-er Holiday" and, after his death, "The Threepenny C Pera" was translated into English by Marc Blitzstein and has continued to run in New York.Weill's music, like Coward's (but a notch below him), captured the spirit of The Times while successfully blending elements of jazz and classical music.His main works are: Opera, musical comedy, etc. (the scriptwrit in brackets) 1: The Protagonist (Der soup) (Kaiser) 1925;Der 'Drejgroschenop - Er (Hauptmann, Brecht) 1927;Aufsteig und Fall der Stacit Mah -- Agonny (Brecht) 1929;Der Zar Lasst Sich Photographiern (Kaiser) 1928;"Yes Man" (Der Jasager) (Brecht) 1,930;Die Bnrgschaft (Inner Hale) 1930~ 31;Der Silbersee (Kaiser) 1932;Marie Galante (DE Waal) Paris, 1933;A King-dom for A Cow (London, 1935;Johnnyjohnson (Green) New York, 1936;Knickerbocker Holiday (New York, 1938);Lady in the Dark (Anderson) New York, 1940;One Touch ofVenus (perelman Nash) New York, 1943;Down in the Valley (Sundgaard) New York, 1945-48;Street Scene (Rice) New York, 1946;Lost in the Stars (Anderson) New York, 1949. Ballet: Soprano, male chorus, band's Seven Sins (Die Sieben Todsiinden)(1933). Orchestra: Symphony: No.L (1921), No. 2(1933 ~ 34);Quodlibet op. 9 (1923);Violin Concerto, Wind Ensemble, Op. 12 (1924);Der Neueorpheus (1925) by soprano, violin and orchestra;Baritone and the band's 3 WaltWlhitman Songs (1940);Kleine Dreigroschenmusik (suite from the Opera). Chorus: A cappella 'Recordare';Tenor, baritone, bass, chorus, band broadcast Cantata "D'er Lindberghflug" (1927);Soloists, chorus, and band's Lrhe Ballad of the Magne Carta (1939). Chamber Music: String Quartet, Op. 8(1923). Song: "Das Berliner Requiem";"September Song";Ballade Vom Ertrunken Madchen;"Happy End";"Bilbao Song";"Surabaya Johnny";"Matrosen Tango;"Havanalied";"The Alabama Song";Der Silbersee;"Lied der Fennimore" and so on. Today's videos: 1. Sasha Vujacic as Pirate Jenny in threepence -- a $1 episode; 2. The woodwind Quintet edition of The Song of Plenty by Kurt Weill from the opera Threepence. |
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| 库特·魏尔（Kurt Weill）在作曲 | ||||||||||||||||||||||||||
| 库特·魏尔作曲家库尔特朱利安威尔是一位德国作曲家，从20世纪20年代开始活跃在他的祖国，并在他的晚年在美国。 他是舞台上的主要作曲家，他最著名的是他与BertoltBrecht的富有成效的合作。 与布莱希特，他开发了一些作品，如他最著名的作品“threepenny歌剧”，其中包括民谣“Mack刀；。 威尔持有创作音乐的理想，这有助于实现社会上有用的目的。 他还为音乐厅写了几部作品。 他于1943年8月27日成为美国公民。 | ||||||||||||||||||||||||||
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| 库特·魏尔（Kurt Weill）(中）和夫人洛特·莱妮亚（Lotte Lenya）（右二）1935年到达美国。 | ||||||||||||||||||||||||||
| Kurt Juanweil was a German composer who began to be active in his homeland in the 1920s and in the United States in his later years.He was a leading composer on stage and is best known for his fruitful collaborations with BertoltBrecht.With Brecht, he developed some works such as his most famous work the opera Threepenny, which includes the ballad "Mack Knife;.Will had an ideal of making music that would serve socially useful purposes.He also wrote several works for the concert hall.He became an American citizen on August 27, 1943. | ||||||||||||||||||||||||||
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| 库特·魏尔（Kurt Weill）和布莱希特（Lotte Lenya） | ||||||||||||||||||||||||||
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| 库特·魏尔（Kurt Weill）和布莱希特（Lotte Lenya） 的歌剧作品《资本主义的七宗罪》唱片封面 | ||||||||||||||||||||||||||
| Album cover of Kurt Weill and Lotte Lenya's opera "The Seven Deadly SINS of Capitalism" | ||||||||||||||||||||||||||
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| 让她振作起来：艾米·弗雷斯顿演唱了威尔的《珍妮传奇》 | ||||||||||||||||||||||||||
| Making her mind up: Amy Freston sings Weill's Saga of Jenny | ||||||||||||||||||||||||||
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细看小字，很明显，库特·魏尔的《从柏林到百老汇》实际上是对原由吉恩·勒纳和编曲牛顿·韦兰设计的一场演出的重新包装，北歌剧院的节目没有告诉我们关于他的任何信息。这部卡巴莱式的作品分为两部分，巧妙地向我们展示了威尔的职业生涯，由11名演员组成的串联叙事在某种程度上像是小学课堂的集合。 但它的效果很好。经验丰富的导演吉尔斯·海弗格尔放手的方式肯定会让威尔暴躁的合作者布莱希特很高兴。有马丁·皮卡德出色的钢琴伴奏，这意味着我们听到的更多，而不是更少。演员们大多来自北方歌剧院的合唱团，他们自始至终都穿着晚礼服，偶尔还会戴上帽子、道具和椅子。利兹亲密的城市多样性使一个理想的场所:这个生产将感到失落在一个更大的空间。 第一幕在柏林的演出包括了所有你能想到的热门歌曲:锐利的英文版本的“麦克刀的民谣”，“阿拉巴马之歌”和“海盗珍妮”，以及令人吃惊的六重奏表演的“贝拿勒斯之歌”来自马哈贡尼，威尔低劣的和声真的击中了家。表演从来不会太过歌剧化，除了洛娜·詹姆斯和尼古拉斯·瓦特对《鹤的二重唱》(Duet of the crane)精致的德文演绎，这也是出自马哈贡尼(Mahagonny)。我以前从未听过所有这些翻译，我最喜欢的是修改后的“加尔文之歌”(“让我们疯掉/参军/我们把他们剁碎，因为我们喜欢生汉堡”)，由亚历克斯·班菲尔德(Alex Banfield)和理查德·莫斯利-埃文斯(Richard Mosely-Evans)愤怒地吐出来(见下图)。布莱希特/威尔合作关系的陨落被简洁地概括，三便士歌剧的近乎灾难性的首演成为了亮点。然而，如果没有连贯的情节，这些歌曲确实开始变得模糊起来，而威尔的风格修辞在没有太多间隙的情况下开始刺耳。 |
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Peer at the small print and it’s clear that Berlin
to Broadway with Kurt Weill is actually a spruced-up
repackaging of a show originally devised by Gene
Lerner and arranger Newton Wayland, about whom Opera
North’s programme tells us nothing. The
cabaret-style production’s two halves take us neatly
through Weill’s career, the linking narrative
divvied out among the 11-strong cast in a manner
that suggests a primary school class assembly. But it works handsomely. Veteran director Giles Havergal’s hands-off approach would surely have pleased Weill’s testy collaborator Brecht. And having the songs accompanied, superbly, by Martin Pickard on piano means that we hear more, not less. The cast, mostly drawn from Opera North’s chorus, are in evening dress throughout, assisted intermittently by hats, props and chairs. Leeds’ intimate City Varieties makes for an ideal venue: this production would feel lost in a larger space. The first act’s Berlin sequence includes all the hits you’d expect: pin-sharp English versions of “The Ballad of Mack the Knife”, the “Alabama Song” and “Pirate Jenny”, and a startling sextet performance of the “Benares Song” from Mahagonny, Weill’s sleazy harmonies really hitting home. Delivery is never too operatic, except, rightly so, in Lorna James and Nicholas Watt’s exquisite German rendition of the “Duet of the Cranes”, again from Mahagonny. I’d not heard all of these translations before, my favourite being a revamped “Cannon Song” (“Let’s all go barmy/And join the army/We chop ‘em to bits because we like our hamburgers raw”), spat out with fury by Alex Banfield and Richard Mosely-Evans (pictured below). The meteoric rise and fall of the Brecht/Weill partnership is succinctly outlined, the near-catastrophic premiere of The Threepenny Opera a highlight. The songs, however, do begin to blur into one another without a linking plot, and Weill’s stylistic tropes begin to grate when they’re heard without much of a gap. |
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| 《珍妮传奇》的剧照。 | ||||||||||||||||||||||||||
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因此，在后半段穿越大西洋，讲述威尔和他的配偶乐天·莲娜(Lotte
Lenya)离开纳粹德国后的故事，让人松了一口气。威尔热爱他的新家，他放弃了自己的欧洲血统(“我是一个美国作曲家。”)，拥抱了百老汇音乐剧。然而，仔细聆听，你仍能听到在音乐闪闪发光的表面下齿轮的磨砺声:威尔最好的美国作品都有着真正击中要害的质朴和辛酸。迪安·罗宾逊演唱了尼克巴克·霍利迪的“九月之歌”，瓦茨对被遗忘已久的约翰尼·约翰逊的“约翰尼之歌”的描述让人热泪盈眶。最有趣的是1941年心理分析音乐剧《黑暗中的女人》中的“珍妮传奇”。艾拉·格什温的歌词是一流的，艾米·弗雷斯顿品味每一个音节。 威尔成为了美国公民，却在1945年和格什温的作品《煽动者的佛罗伦萨》中遭受了近乎致命的挫折，最终证明这是一场代价高昂的失败。他试图写一部流行歌剧(1947年的街景)，后来与艾伦·杰伊·勒纳合作。威尔最后一部音乐剧《迷失在星间》的剧名由贝斯·戈登·D·肖和全体演员演绎，但太甜了，让人不舒服。死亡发生在1950年，当时他正在为《哈克贝利·费恩历险记》的音乐改编工作，这部音乐剧保留了5个数字。我们在这里什么也听不到，而是以强有力的合奏《是什么让一个人活着》和《麦克刀》结束——讽刺地提醒我们，这位作曲家在美国最成功的作品是三便士歌剧在他死后的复兴。 |
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Thus it’s
a relief to cross the Atlantic for the second half,
picking up the story of Weill and his on/off spouse
Lotte Lenya after they had left Nazi Germany. Weill
loved his new home, renouncing his European origins
(“I am an American composer.”) and embracing
Broadway musical theatre. Yet listen carefully and
you can still hear the gears grinding away beneath
the music’s gleaming surfaces: the best of Weill’s
American numbers have a rawness and poignancy that
really hit home. Dean Robinson throws in a lovely
rendition of Knickerbocker Holiday’s “September
Song”, and Watts’s account of “Johnny’s Song” from
the long-forgotten Johnny Johnson brings tears to
the eyes. Funniest is “The Saga of Jenny” from the
1941 psychoanalytical musical Lady in the Dark. Ira
Gershwin’s lyrics are superb, and Amy Freston
savours every syllable. Weill became an American citizen, only to suffer a near-terminal setback when his and Gershwin’s 1945 show The Firebrand of Florence proved to be an expensive flop. He attempted to write a popular opera (1947’s Street Scene), and later teamed up with Alan Jay Lerner. The title number from Weill’s final musical Lost in the Stars is handsomely delivered by bass Gordon D Shaw and the ensemble, but it’s too syrupy for comfort. Death came in 1950 as he was working on a musical adaptation of Huckleberry Finn, for which five numbers survive. We don’t hear any of them here, ending instead with powerful ensemble renditions of “What Keeps a Man Alive” and “Mack the Knife” – an ironic reminder that this composer’s biggest American hit was a posthumous revival of The Threepenny Opera. |
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| 贝尔托·布莱希特（Bertolt Brecht） | ||||||||||||||||||||||||||
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贝尔托·布莱希特（Bertolt
Brecht，1898年2月10日——1956年8月14日），是一位著名的德国戏剧家与诗人。1898年2月10日，贝尔托·布莱希特生于德国巴伐利亚奥格斯堡镇。年轻时曾任剧院编剧和导演。曾投身工人运动。1933年后流亡欧洲大陆。1941年经苏联去美国，但战后遭迫害，1947年返回欧洲。1948年起定居东柏林。1951年因对戏剧的贡献而获国家奖金。1955年获列宁和平奖金。
1956年8月14日布莱希特逝世于柏林。 1918年，布莱希特写出第一部短剧《巴尔》，抨击资产阶级道德的虚伪性，1920年完成剧作《夜半鼓声》。1922年写出《城市丛林》，并撰写剧评。1922年被慕尼黑小剧院聘为戏剧顾问兼导演。1924年则应著名导演莱因哈特邀请赴柏林任德意志剧院戏剧顾问，创作剧本《人就是人》。1926年，布莱希特开始研究马列主义，开始形成自己的艺术见解，初步提出史诗（叙事）戏剧理论与实践的主张。他的创作作品包括了：《马哈哥尼城的兴衰》（1927）、《三分钱歌剧》（1928）、《屠宰场里的圣约翰娜》（1930 ）、和《巴登的教育剧》、《 例外与常规》等教育剧。1931年，他将高尔基的小说《母亲》改编为舞台剧。在向舞台剧戏剧发展的过程里，布莱希特的主要剧作有：《圆头党和尖头党》、《第三帝国的恐怖与灾难》、《伽利略传》、《大胆妈妈和他的孩子们》、《四川好人》、《潘蒂拉老爷和他的男仆马狄》以及改编的舞台剧《在第二次世界大战中的帅克》、《高加索灰阑记》等。 布莱希特的史诗戏剧理论在20～30年代与资产阶级为文艺而艺术的思潮作斗争中逐步形成。他要求建立一种适合反映20世纪人类生活特点的新型戏剧，即史诗戏剧。这种戏剧以辩证唯物主义和历史唯物主义的思想认识生活、反映生活。突破“三一律”编剧法*，采用自由舒展的戏剧结构形式，多侧面地展现生活宽广多彩的内容，让读者通过众多的人物场景，看见生活的真实面貌和它的复杂性、矛盾性，促使人们思考，激发人们变革社会的热情。布莱希特把戏剧分为两大类型：一类是按照亚里士德在《诗学》中为戏剧体裁所界定的标准而创作的戏剧，他把它称为“戏剧式戏剧”或“亚里士多德式戏剧”；一类是违反亚里士多德的标准而创作的戏剧，他把它称为“史诗式戏剧”或“非亚里士多德式戏剧”。布莱希特早期的作品曾实验过达达主义和表现主义，但很快的就发展出一套属于他自己独特风格的观点。他厌恶亚里士多德戏剧方法，让观众和剧中的英雄人物产生共鸣进而同情，认为这种恐怖的情感和怜悯导致观众情绪沉沦而无法思考。布莱希特希望借由柏林剧团，来实践他打破这种剧场幻觉的决心与愿望。 |
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| 库特·魏尔（Kurt Weill）和夫人洛特·莱妮亚（Lotte Lenya）与布莱希特（Brecht）一起 | ||||||||||||||||||||||||||
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库尔特·魏尔《马哈哥尼城的兴衰》帕尔马皇家歌剧院 |
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| RISE AND FALL OF THE CITY OF MAHAGONNY | ||||||||||||||||||||||||||
| 在一个想象中的美国城市，上帝将其放荡的公民送入地狱，但他们粗暴地回答说他们已经在那里。 Mahagonny “网城”是由三名逃离警察的罪犯在沙漠中建立的。这是一座致力于享乐的城市。唯一的神就是金钱。因此，享乐主义的伐木工吉米·马奥尼（Jimmy Mahoney）因无法支付他所消费的威士忌的账单而被判处死刑。 作曲家库尔特·威尔（Kurt Weill）和戏剧家贝托尔特·布莱希特（Bertolt Brecht）之间富有成效但令人担忧的合作证明，马哈根尼城的兴衰是 20 世纪最伟大的歌剧之一。布莱希特可能对音乐对文字的支配感到不满，但他们共同创作了一部旋律丰富、戏剧性势不可挡的作品。表现主义的怪诞审判场景无情地导致了热门曲调的结局，马哈戈尼的公民举行了大规模的示威游行。导演 Henning Brockhaus 从艺术家 Edward Hopper 的美国神话画中汲取灵感。对他来说，Mahagonny 的居民是一个持续存在的威胁性存在，就像霍珀画中令人不安的阴影一样，它唤起了猖獗资本主义的反乌托邦。 | ||||||||||||||||||||||||||
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Joe:
Jerzy Butryn Narrator: Filippo Lanzi Citizens of Mahagonny: Roxana Herrera, Elizabeth Hertzberg, Yuliia Tkachenko, Cecilia Bernini, Kamelia Kader, Mariangela Marini Chorus: Coro del Teatro Regio di Parma Orchestra: Orchestra dell Emilia-Romagna "Arturo Toscanini" Music: Kurt Weill Text: Bertolt Brecht Conductor: Christopher Franklin Director: Henning Brockhaus Set Designer: Margherita Palli Costume Designer: Giancarlo Colis Lighting Designer: Pasquale Mari Choreographer: Valentina Escobar Chorus Master: Martino Faggiani |
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Bertolt Brecht (February 10, 1898 -- August 14,
1956) was a German playwright and poet.Berto Brecht
was born in Augsburg, Bavaria, Germany, on February
10, 1898.He was a theatre writer and director when
he was young.He was involved in the worker's
movement.After 1933, they went into exile on the
European continent.He went to America via the Soviet
Union in 1941, but was persecuted after the war and
returned to Europe in 1947.He settled in East Berlin
in 1948.In 1951 he received a state prize for his
services to drama.He received the Lenin Peace Prize
in 1955.Brecht died in Berlin on August 14, 1956. In 1918, Brecht wrote his first short play, "Bar", which attacked the hypocrisy of bourgeois morality, and completed the play "The Drums of the Midnight" in 1920.In 1922 he wrote The Urban Jungle and wrote a review of the play.In 1922, he was hired as drama consultant and director by the Small Theater in Munich.In 1924, he was invited by the famous director Reinhart to Berlin as the drama consultant of the German Theater and wrote the play "Man is man".In 1926, Brecht began to study Marxism-Leninism, began to form his own artistic views, and preliminarily proposed the theory and practice of epic (narrative) drama.His works include the Rise and Fall of Mahagoni (1927), The Three-cent Opera (1928), St. John's At the Slaughterhouse (1930), and Baden's Educational plays, the Exception and the Rule.In 1931, he adapted Gorky's novel Mother for the stage.To play in the drama in the process of development, there are major plays brecht: head of the party and pointed party the circle, the horrors of the third Reich and disaster ", "Galileo biography", "bold mother and his children,", "sichuan good man", pan's grandfather and his manservant horse DE "and adaptation of the play" svejk in the second world war, the Caucasus HuiLan ", etc. Brecht's theory of epic drama came into being gradually in the 1920s and 1930s in the struggle against the bourgeois trend of thought for literature and art.He called for a new kind of drama suitable to reflect the characteristics of human life in the 20th century, that is, epic drama.This kind of drama understands and reflects life with dialectical materialism and historical materialism.Break through the "three uniformity" scriptural method *, adopt the free stretch drama structure form, show the broad and colorful content of life from many sides, let the reader see the real face of life and its complexity and contradiction through numerous characters and scenes, urge people to think, stimulate people's enthusiasm for social reform.Brecht divided drama into two types: one is the drama created according to the standards defined by Alexander in his Poetics for the genre of drama, which he called "dramatic drama" or "Aristotelian drama";One type of drama was written against Aristotle's standards, which he called "epic drama" or "non-Aristotelian drama."Brecht's early works experimented with Dadaism and expressionism, but he soon developed his own distinctive style of thinking.He hated Aristotle's dramatic methods, and made the audience sympathize with the heroes in the play and then sympathize with them. He believed that such horrible emotions and pity caused the audience's emotions to sink so that they could not think.Brecht's determination and desire to break the illusion of theater was to be fulfilled by the Berlin Theater company. |
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| 贝尔托·布莱希特（Bertolt Brecht)一生著作等身。 | ||||||||||||||||||||||||||
| Bertolt Brecht was a prolific writer. | ||||||||||||||||||||||||||
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世界戏剧三大表演体系即分别以斯坦尼斯拉夫斯基（Konstantin·Stanislavsky，苏联戏剧家），布莱希特（Bertolt
Brecht，德国戏剧家），梅兰芳为代表的三种表演体系。二十世纪以来，有三个戏剧艺术家团体产生了世界性影响，这就是以斯坦尼斯拉夫斯基为首的莫斯科艺术剧院，布莱希特领导的柏林剧团，以梅兰芳为代表的中国京剧艺术家群体。这三个戏剧艺术家团体创造的戏剧艺术，各自自成一格，体现了现代三种不同的戏剧观或戏剧美学思想。 然而，最早提及该观点的孙惠柱先生是因为误引了黄佐临先生的论题，之后又被以讹传讹。上文所提及的三人除斯坦尼斯拉夫斯基外，表演方式均不成体系（布莱希特的表演方式是沿袭了斯坦尼）。 |
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The three acting systems of world drama are
represented by Konstantin Stanislavsky (A Soviet
dramatist), Bertolt Brecht (a German dramatist) and
Mei Lanfang.Since the 20th century, three groups of
dramatic artists have exerted worldwide influence,
namely The Moscow Art Theater headed by Stanislav
Sky, the Berlin Theater led by Brecht, and the
Chinese Peking Opera artists represented by Mei
Lanfang.The dramatic art created by these three
groups of dramatic artists has its own style, which
reflects three different modern views of drama or
aesthetic thoughts of drama. However, Mr. Sun Huizhu, who first mentioned this point of view, mistakenly quoted Mr. Huang Zuolin's thesis and then was wrongly informed.Except for Stanislavsky, none of the three above performed in a systematic way (Brecht followed Stanny's lead). |
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| 曾经极力反对布莱希特和库特·威尔的歌剧的法国作曲家弗洛伦特·施密特（Florent Schmitt) | ||||||||||||||||||||||||||
| 弗洛伦特·施密特(1870年9月28日出生于法国布拉蒙特，1958年8月17日卒于塞纳河畔纽伊)，以管弦乐作品而闻名的作曲家。他曾就读于南希学院，并在巴黎音乐学院师从马斯内和法尔奈。1900年，他凭借抒情诗《ssamumiramis》赢得了罗马奖。他因合唱和管弦乐队的《Psaume XLVI》(1904年)、芭蕾舞剧《La tragdie de salom<s:1>》(1907年)和钢琴五重奏(1908年)而名声大噪。其他作品包括安托万et cl<s:1> <s:1> <s:1> <s:1> <s:2>(1920)，幻影(1920 - 21)和Salammbô（《萨朗波》是法国作家居斯塔夫·福楼拜的作品。作者试图通过现代小说的写法将源于古代的一个幻想永存）(1925)，为管弦乐队;《allemagne Reflets》(1905)，钢琴二重奏;木管乐器和铜管乐器的四重奏，以及合唱作品。 | ||||||||||||||||||||||||||
| 弗洛伦特·施密特(1870年9月28日出生于法国布拉蒙特，1958年8月17日卒于塞纳河畔纽伊)，以管弦乐作品而闻名的作曲家。他曾就读于南希学院，并在巴黎音乐学院师从马斯内和法尔奈。1900年，他以抒情场景《塞米拉米斯》获得罗马奖。他因合唱和管弦乐作品《Psaume XLVI》(1904年)而名声大噪，芭蕾悲剧莎乐美(1907)和钢琴五重奏(1908)而闻名。其他作品包括《安托万与克利奥帕特拉》(1920)、《海市蜃楼》(1920 - 21)和《萨朗波》(1925)，为管弦乐队;《德国的反思》(1905)，钢琴二重奏;木管乐器和铜管乐器的四重奏，以及合唱作品。 | ||||||||||||||||||||||||||
| Florent Schmitt, (born Sept. 28, 1870, Blamont, Fr.—died Aug. 17, 1958, Neuilly-sur-Seine), composer known for his orchestral works. He studied at Nancy and under Massenet and Fauré at the Paris Conservatoire. In 1900 he won the Prix de Rome with his lyric scene Sémiramis. He gained fame with the Psaume XLVI (1904) for chorus and orchestra, the ballet La Tragédie de Salomé (1907), and a piano quintet (1908). Other works include Antoine et Cléopâtre (1920), Mirages (1920–21), and Salammbô (1925), for orchestra; Reflets d’Allemagne (1905), for piano duet; quartets for woodwind instruments and for brass, and choral works. | ||||||||||||||||||||||||||
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简介:(匿名投稿人)施密特是活跃在20世纪上半叶最令人着迷的法国作曲家之一。在“建立”的巴黎converatoire(他的老师包括faur<s:1>，
Massenet和Gedalge)中长大，他在几次尝试后赢得了罗马奖，并开始不仅去意大利旅行，还去了土耳其和北非。在他回到巴黎后，他的不朽配乐《诗篇47》(为女高音、合唱、管风琴和管弦乐队而作)于1906年首演。这是法国作曲家唯一的史诗级合唱配乐，直到20年后奥涅格创作了《大卫国王》。随后，他又创作了几部重要的作品:芭蕾舞剧《悲剧》(La
tragedy de
salom<s:1>)于1907年首演，后来改编为交响诗，并扩大了管弦乐队的规模;还有钢琴五重奏，这是一首50分钟的作品，动作特别缓慢。事实证明，《萨罗米斯》乐谱是施密特最经久不衰的作品，曾被德沃、马丁农、帕雷和科波拉等名人录制过。在美国，它得到了Mitropolous的支持。最近，在20世纪80年代中期，查尔斯·迪图瓦(Charles
Dutoit)和蒙特利尔交响乐团(Montreal Symphony
Orchestra)在美国巡演中演出了这首歌。施密特直到1958年去世，享年88岁。他的编目作品有138首，最后一首是《第五交响曲》。1958年4月，查尔斯·蒙克(Charles
Munch)在法国首演，作曲家也出席了首演。施密特的大部分作品都由杜兰出版社出版(一些早期的作品由萨拉伯特出版)。他的音乐越来越频繁地出现在CD上。最好的样本包括EMI与Martinon合作的诗篇47;1912年《墨丘利与帕雷同在》中的悲剧;与鲁道夫·巴什合作的钢琴五重奏;在瓦卢瓦与塞梅特合作的钢琴与管弦交响协奏曲;阿德斯岛上的萨兰博的伟大电影音乐;以及在瓦卢瓦与白和塞梅特合作的双钢琴三重奏。 除了作曲之外，施密特在巴黎的音乐界也非常活跃，他是几家出版物的评论家，后来担任里昂Convervatory的导演(接替杜卡斯)。他是法国荣誉公民，学院成员，荣誉军团的获得者。他在20世纪初是年轻的伊戈尔·斯特拉文斯基的好朋友，后来两人闹翻了。两人最后一次见面是在1957年美国驻巴黎大使馆的一次活动上。当时的一张照片显示了两位老先生与维拉·斯特拉文斯基在一起，这张照片刊登在目前市面上的几本斯特拉文斯基书籍中。 |
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| https://musicalics.com/en/node/81194 | ||||||||||||||||||||||||||
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Schmitt is one of the most fascinating of the French
composers active in the first half of the 20th
century. Brought up firmly in the "establishment" of
the Paris Convervatoire (his teachers included
Fauré, Massenet and Gedalge), he won the Prix de
Rome after several attempts, and proceeded to travel
not only to Italy, but also to Turkey and North
Africa. Upon his return to Paris, his monumental
score Psalm 47 (for soprano, chorus, organ and
orchestra) was premiered in 1906. This was to be the
only epic choral score from a French composer until
Honegger wrote Le Roi David 20 years later. Several
other important scores followed: the ballet La
Tragedie de Salomé, premiered in 1907, later
refashioned into a symphonic poem with expanded
orchestra; and the Piano Quintet, a 50 minute work
with a particularly moving slow movement. The Salomé
score has proven to be the most enduring of
Schmitt’s compositions, having been recorded by such
luminaries as Dervaux, Martinon, Paray, and Coppola.
In the U.S., it was championed by Mitropolous. More
recently, it has been performed by Charles Dutoit
and the Montreal Symphony Orchestra on that
ensemble’s U.S. tour in the mid-1980s. Schmitt
continued to compose up until the day he died (at
age 88 in 1958). His catalogued compositions number
138, the last being the Symphony no. 2, premiered in
April of 1958 by Charles Munch in France, with the
composer in attendence. Most of Schmitt’s works have
been published by Durand (some earlier ones by
Salabert). His music is turning up more frequently
on CD. Best ones to sample include the Psalm 47 on
EMI with Martinon; La Tragedie de Salomé in the 1912
re-work on Mercury Living Presence with Paray; the
Piano Quintet with Rudolf Bartshi on Accord; the
Symphonie Concertante for Piano & Orchestra with
Sermet on Valois; the great film music to Salammbo
on Ades; and the Trois Rapsodies for two pianos with
Paik and Sermet on Valois. In addition to his composing, Schmitt was very active in the music scene of Paris, a critic for several publications, and later director of the Lyon Convervatory (succeeding Dukas). He was a decorated citizen of France, a member of l’Institute, and a recipient of the Legion of Honor. Having been a good friend of the youthful Igor Stravinsky in the early 1900s, the two had a falling out in later years. The two met one last time at an American Embassy function in Paris in 1957. A photo from that occasion shows the two old gentlemen with Vera Stravinsky, and published in several of the Stravinsky books that are currently on the market. |
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| 《优裕生活之歌》木管五重奏版 | ||||||||||||||||||||||||||
《优裕生活之歌》（Ballad of Gracious Living），选自Kurt Weill《三便士歌剧》，以色列特拉维夫木管五重奏（Tel Aviv Wind Quintet）演奏。 |
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| Ballad of Gracious Living by Kurt Weill in the Three-penny Opera with Tel Aviv Wind Quintet. | ||||||||||||||||||||||||||
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