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| 拉斐尔·库贝利克（Rafael Kubelik，1941 —1996) | |||||||||||||||||||||
【纪录片/中字】 拉斐尔·库贝利克：肖像 |
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Rafael Kubelik: A Portrait |
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音乐历史上的今天
1961年8月25日，拉斐尔·库贝利克：《纪念吾妻的安魂曲》首演于卢塞恩。 ——莫扎特之旅 |
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| 年轻的拉斐尔·库贝利克（Rafael Kubelik) | |||||||||||||||||||||
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Today in
the history of music On August 25, 1961, Kubellick: requiem in Memory of my Wife premiered in Lucerne. Rafael Kubelik was born in Bihori, Czech Republic, the son of Jan Kubelik, a renowned violinist and composer.He studied at the Prague Conservatory of Music from 1928 to 1933, conducting the Czech Philharmonic Orchestra for the first time the following year.From then until 1936, he often conducted the orchestra for his father to perform six violin concertos for other violins and the accompaniment of the orchestra music. From 1936 to 1939, he was the executive director of the Czech Philharmonic Orchestra. In 1942, he was promoted to artistic director.When the Communists took over in 1948, Kubelic was attending the Edinburgh Music Festival in England and broke away from the Czech Republic to conduct the Chicago Symphony Orchestra in the United States the following year.He became music superintendent of the Covent Garden Opera House in 1955 and conducted the New York Philharmonic orchestra from 1957 to 1958.From 1961 to 1979, he was chief conductor of the Bavarian Radio Symphony Orchestra. Raphael Kubelic was born in Pikhoi, Czech Republic in 1914.His family was a typical musical family. His father, Jan Kubelic, was a world-famous violinist in the late 19th and early 20th centuries and was a representative of the famous Sevcik violin school at that time.Born into such a privileged family music environment, La Kubellick certainly gained many factors that benefited him throughout his life.He began studying piano, violin, conducting and composition at the Prague Conservatory of Music at the age of 14.After graduating from the conservatory at the age of 19, he made his debut conducting with the Czech Philharmonic Orchestra the following year.Over the next two years, he traveled with his father many times and played in orchestras for his father.In 1936, at the age of 22, Kubelic began his busy conducting career as conductor of the famous Czech Philharmonic orchestra.After three years in the world-famous orchestra, Kubelic received an offer from the Opera house of The Ethnolpe brno and became its permanent conductor from 1939 to 1941.When kubelic returned to the Czech Philharmonic after 1941, he was now the orchestra's chief conductor.Kubellick worked with the orchestra for seven years and played an important role in the continued development of a group with a long history and a proud tradition.In 1948, Kubellick said goodbye to his homeland and moved across the pond to the United States.In the United States, Kubellick undertook a wide range of activities in an effort to demonstrate his talent as a conductor, and in 1950 he finally succeeded, taking up the post of permanent conductor of the Chicago Symphony Orchestra for three years.However, after he began his campaign in the United States range, a well-known British royal families, covent garden opera house was waved to him frequently to again, which made him again returned to Europe in 1955, for the big and opera in the world famous opera house permanent command, in this period, the library bailey g command it to perform an opera a lot of work, which also includes many performance of monumental significance, such as he had command of the premiere in Britain, the chuck's opera "Mr Law and Berlioz's opera" Trojan ", and these important activity experiences,Gradually, he gained more and more worldwide fame.Library and bailey came to Germany in 1961 and, here, he served as another famous orchestra in Munich Bavarian radio symphony orchestra permanent command, when he was during the permanent conductor of the orchestra, has repeatedly led the delegation to visit abroad, won widespread influence in the world, and for the orchestra played a role cannot be underestimated.In the 1970s, Kubelick began to return to the United States. He served as permanent conductor of the Metropolitan Opera House in New York from 1971 to 1974. After taking office, he worked hard and overcame many difficulties to bring the theater back to the normal track.In 1974, Kubelic left his post as musical director and permanent conductor at the Metropolitan Opera to move to Switzerland in central Europe, where he eventually became a Swiss citizen.Since then, Kubelic continued to be active on the international music stage as a Czech - Swiss double conductor. Today's video: : 1. Raphael Kubellick: Portraits.- Mozart |
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| 拉斐尔·库贝利克（Rafael Kubelik)的指挥英姿 | |||||||||||||||||||||
| 拉斐尔·库贝利克的成就及荣誉 | |||||||||||||||||||||
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热衷指挥事业 库贝利克的名字对于专业音乐工作者和音乐爱好者来说应该是并不陌生的，他是20 世纪中非常活跃和有影响力的著名指挥家。除了以上提到的那么多一流乐团的音乐指导与常任指挥以外，他还是一位异常繁忙的世界性客席指挥，在他的指挥生涯中，曾经担任过包括欧美各国和世界上其它国家和地区的交响乐团的客席指挥，足迹遍布之广是使很多人都望尘莫及的，因此有的资料上曾说他在客串指挥方面是仅次于卡拉扬的第二号人物，这种说法准确与否我们先另当别论，但他是20 世纪中最繁忙的客席指挥之一，则是肯定无疑的了。 库贝利克是老一辈指挥家中精力充沛式的人物。他那高雅的艺术趣味和极有吸引力的气质，一直是被后代的青年指挥家们奉为榜样的，而在专业素质上，他也是有着十分突出的特点的人物。他有着高度的艺术鉴赏力、敏锐的音乐感受力以及清晰明快、自然稳健的风格和特点，人们在聆听他指挥演奏的作品时，以上的特征便会随着音乐的进行而极其自然流畅地表现出来。 家庭背景 人们都说库贝利克是一位艺术修养既高雅又全面的艺术家，而这些不平凡的气质首先要归功于他那音乐世家家庭中的优雅的音乐环境的直接熏陶和影响，库贝利克的家庭是捷克有名的音乐世家，这个家庭曾经诞生过捷克历史上重要的音乐家，如果翻开捷克音乐史仔细观察的话，在那记载着斯美塔那、德沃夏克、雅那切克和苏克、塞夫契克等音乐大师的史册上，同样也端庄地记载着扬·库贝利克和拉·库贝利克的名字。他们父子二人，早已成为捷克音乐界中的重要人物而受到人们的尊敬和爱戴了。 |
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| 拉斐尔·库贝利克（Rafael Kubelik) | |||||||||||||||||||||
| 指挥、作曲双料大师 | |||||||||||||||||||||
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大凡现代的指挥家们，一般都受到过托斯卡尼尼和富尔特文格勒的影响，有的偏重于前者，有的则倾向于后者，库贝利克在这方面也不例外，但从他的风格上来看，似乎更接近于富尔特文格勒。他是一位“音乐性”很强的指挥家，有时常在指挥时表现出令人惊讶的主观即兴风格，甚至于在屡次指挥同一作品时很少有相同的时候。然而他指挥演奏出的音乐的那种流畅与雅致的特性，往往能够给人带来十分醒目的印象。当然也有的评论家认为他的指挥缺乏深度和强度，其实这也只是观察的角度不同罢了。 双料指挥大师 库贝利克和许多人一样，也是一位集指挥家和作曲家为一身的双料指挥大师。作为指挥家，他曾取得了享誉世界的名声，而作为作曲家，他的才华也是广为人知的，据说这方面的才能他还是在布拉格音乐学院作学生时就已显露出来了。他从音乐学院毕业以后，就曾先后创作了许多各种体裁形式的音乐作品，其中包括两部交响曲、一首钢琴协奏曲、一首大提琴协奏曲、一首小提琴协奏曲，此外还有许多室内乐作品，一部歌剧《维罗尼卡》以及为悼念他的父亲而作的安魂曲等等。 指挥作品范围 库贝利克是一位指挥作品范围很广的指挥家，他既能指挥歌剧，也能指挥交响乐和其它体裁的音乐作品，从曲目的时代和风格上来看，他还是更善于指挥古典主义和浪漫主义的作品，其中特别擅长指挥戏剧性较强的作品，当然，在对待他的祖国的作曲家的作品方面，他的演释就更具有权威性了。从总体上来看，他对贝多芬、柴科夫斯基、斯美塔那、德沃夏克、雅那切克和马勒等人的作品，有着更加精湛的理解和演释。 |
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| 著名小提琴家杨·库贝利克（Jan kubelík)——拉斐尔·库贝利克（Rafael Kubelik)的父亲 | |||||||||||||||||||||
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| 扬·库贝利克(Jan kubelík) | |||||||||||||||||||||
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扬·库贝利克(Jan kubelík)在1880年7月5日生于布拉格附近的米什列。父母均为捷克人。他五岁开始从父亲学小提琴，父亲以园艺为业，业余从事音乐。库贝利克八岁时在布拉格第一次登台，演奏维厄当的协奏曲和几首维尼亚夫斯基的小曲。后来他从韦贝拉、昂德里奇卡和斯尔斯内学琴，每年换一次老师。真正的老师是他在布拉格音乐学院师事六年之久的奥托卡·舍夫契克(1852-1934)。舍夫契克的学生据说先后数以千计，因为他在欧美各地的教学生涯长得出奇。学生中有埃里卡·莫里尼、埃弗雷姆·津巴利斯特(在奥尔以后)，弗朗茨·昂德里切克、雅罗斯拉夫·科齐安，玛丽·霍尔和莱奥诺拉·杰克逊。 舍夫契克以技巧练习著称，这些练习至今仍被广泛采用，他的重点是训练手指和弓子，快速灵活到令人难以置信的地步。而诸如优美的音色、气魄恢宏的风格和精妙入微的细节等，则非他的常用字眼。在他门下最勤奋的学生每天练琴八小时，迫求超人的琴上功夫，用以为没有光彩的向后看的乐曲处理服务。 |
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| 扬·库贝利克(jan kubelík) | |||||||||||||||||||||
| 舍夫契克的得意门生 | |||||||||||||||||||||
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天生具有音乐表现倾向的学生，沉溺在舍夫契克的方法中过久以后，不少人会成为，而且真的成了干巴巴的刻板的机器。库贝利克就是第一号例子。(舍夫契克的方法用得有节制的话，是十分有益的。)然而卡尔·弗莱什一面大骂库贝利克，一面却称他为“…最高级的天才”，蒂博称他为“……真正的天才小提琴家……如能得到别的老师指点，定能成为不朽的艺术家……我把他算在舍夫契克的受害者之列。”蒂博说，这位捷克人在演出贝多芬协奏曲的前一天，“…从早到晚只拉舍夫契克的练习”。甚至在演出的那一天还忍着手指疼痛坚持不断地练。这样的疲劳战当然只会麻木指尖的敏锐感觉、削弱自发的音乐感情。 库贝利克是舍夫契克教学成就的典型例子。十八岁演奏勃拉姆斯的协奏曲时就用自己的华彩段，还拉帕格尼尼第一协奏曲。虽然他的曲目包括当时大多数的热门作品，但他主要靠帕格尼尼一类的音乐出名。前后两年，他的体操式绝技征服了维也纳、布达佩斯、巴黎和伦敦的听众(即使评论家未必全被征服)。这些胜利中还包括一次去意大利的演出，教皇利奥十三世在罗马授予他圣格列哥利勋章。欧洲各国君王也纷纷赐以荣誉和勋章。 |
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| 扬·库贝利克(jan kubelík)和夫人 | |||||||||||||||||||||
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1902年，扬·库贝利克首次访问美国，可谓轰动一时。他被称为“帕格尼尼的继承人”，一如帕格尼尼当年的盛况，店铺橱窗里到处都是“库贝利克式”的鞋、帽、围巾和其他用品。音乐会卖座率一度超过芝加哥的帕德雷夫斯基。社交场中的姑娘们竞相向他求婚。不出几年，一次次访美演出的收入达五十余万美元，这在当时可是一笔巨款(克莱斯勒在1905年与纽约爱乐乐团合作演出两场音乐会，收入才四百美元！)。 库贝利克前几次访美演出的钢琴伴奏是鲁道夫·弗里姆尔，即后来以创作可爱的轻歌剧闻名的弗里姆尔。 当然，胜利不是绝对的。德国的音乐标准比较保守严肃，对于库贝利克的声誉反应冷淡。美国著名评论家亨利·芬克在1909年写的文章中对这位捷克人的演奏明确表示失望。他把帕格尼尼的协奏曲比作罗西尼和多尼采蒂的歌剧，不失公允，但是说这些协奏曲是“老古董……只有装饰繁褥的风格”，未免过于主观。芬克的音乐趣味显然同古典主义意大利歌剧的魔力不一致。 1903年，扬·库贝利克和匈牙利的扎基·塞尔伯爵夫人结婚，成为匈牙利公民，生有五子三女，其中一个为当代著名指挥拉斐尔·库贝利克。1915年，库贝利克退出音乐会舞台，悉心作曲，作品有六首小提琴协奏曲、许多小曲、改编曲、华采段和一首交响曲，现在这些乐曲都没有人演奏了。1921年他重返舞台，但已不再能唤起世纪初那个天真时期的热烈反应。库贝利克于1940年12月5日卒于布拉格。 |
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| 扬·库贝利克(jan kubelík)在美国 | |||||||||||||||||||||
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In 1902,
Kubellick made his first sensational visit to the United
States.He was called "The Heir of Paganini," and, as paganini
once did, the shop Windows were filled with "Kubellick" shoes,
hats, scarves and other items.For a time, the concert sold out
faster than Paderewski in Chicago.The girls at the party vied
with each other to propose to him.Within a few years, visits to
the United States brought in more than half a million dollars,
which was a lot of money at the time. (In 1905, Chrysler made
400 dollars for two concerts with the New York Philharmonic!). The piano accompanist on kubellick's first visits to the United States was Rudolf Frimle, later known for his lovely operetta. Of course, victory is not absolute.German musical standards are conservative and austere, and Kubelic's reputation has been lukewarm.In an article written in 1909, Henry Fink, a famous American critic, expressed his unequivocal disappointment with the Czech's performance.He justly likened paganini's concertos to those of Rossini and Donizetti, but said they were "old fogies...Only the style of decoration is too subjective.Fink's musical tastes are clearly at odds with the magic of classical Italian opera. In 1903, Kubelic married countess Zaki Sel of Hungary and became a Hungarian citizen. They had five sons and three daughters, one of whom was the famous contemporary conductor Raphael Kubelic.In 1915, Kubellick retired from the concert stage to concentrate on his compositions of six violin concertos, many ditties, arrangements, melodies and a symphony that are now unplayed.His return to the stage in 1921 no longer evokes the enthusiastic reaction of the naive early years of the century.Kubelic died in Prague on December 5, 1940. |
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[拉斐尔·库贝利克 BRSO 马五]Symphony No. 5 (Mahler) - Rafael Kubelik,BRSO |
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| 杨·库贝利克1902-1913年间历史演奏的 原声录音 | |||||||||||||||||||||
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安布罗西奥:小夜曲 德尔德拉：小夜曲 圣鲁宾：多尼采蒂《卢西亚·迪·拉默穆尔》中的六重奏 维尼亚斯基：古诺《浮士德》中的花园场景 萨拉萨特:比才《卡门》中的哈巴涅拉 萨拉萨蒂：比才《卡门》中的香松波希米亚 帕格尼尼-我心惆怅 (心如止水) 巴兹尼:《小精灵之舞》 阿姆布罗西奥：小夜曲 纳切斯：匈牙利舞蹈 维尼亚斯基:古诺《浮士德》的墨菲斯托变奏曲 帕格尼尼：“上帝拯救国王”的变奏曲 帕格尼尼：无穷动 圣路宾:唐采蒂《拉默摩尔的露西亚》中的六世 德尔德拉：小夜曲 舒曼：梦幻曲 巴兹尼:《小精灵之舞》 胡拜：西风 维尼亚夫斯基：谐谑曲与塔兰泰拉 拉夫:短曲 萨拉塞特:踢踏舞 菲比赫:诗情爱意 斯甘巴蒂：拿波里小夜曲 德尔德拉：小夜曲 圣桑：天鹅 库贝利克:帕格尼尼第一协奏曲华彩乐段 帕格尼尼：随想曲第 6 号 兰德格：皮埃罗小夜曲 维尼亚斯基:玛祖卡(Op.19，第2号) 萨拉萨蒂：木屐舞 里斯；无穷动 莫扎特：浪漫曲 格鲁克：旋律 柴可夫斯基:小提琴协奏曲中的华彩 德尔德拉：纪念 德沃夏克:幽默曲 萨拉萨蒂:流浪者之歌 维尼亚斯基:第二小提琴协奏曲的终曲 萨拉萨蒂：西班牙舞蹈(作品26，第2) |
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D'Ambrosio: Serenade Drdla: Serenade Saint-Lubin: Sextet from Donizetti's "Lucia di Lammermoor" Wieniawski: Garden Scene from Gounod's "Faust" Sarasate: Habernera from Bizet's "Carmen" Sarasate: Chanson Boheme from Bizet's "Carmen" Paganini: Nel Cor Pui Non Mi Sento Bazzini: Dance of the Goblins D'Ambrosio: Serenade Nachez: Hunganian Dance Wieniawski: Mephisto Variations from Gounod's "Faust" Paganini: Variations on "God Saves the King" Paganini: Moto Perpetuo Saint-Lubin: Sextet from Donzetti's "Lucia di Lammermoor" Drdla: Serenade Schumann: Traumeri Bazzini: Dance of the Goblins Hubay: Zephyr Wieniawski: Scherzo-Tarantelle Raff: Cavatina Sarasate: Zapateado Fibich: Poeme Sgambati: Serenata Napolitana Drdla: Berceuse Saint-Saens: The Swan Kubelik: Cadenza to Paganini Concerto No. 1 Paganini: Caprice No. 6 Randegger: Pierrot Serenade Randegger: Pierrot Serenade Wieniawski: Mazurka (Op.19, No. 2) Sarasate: Zapateado Ries: Perpetuum Mobile Mozart: Romance Gluck: Melodie Tchaikovsky: Canzonetta from Violin Concerto Drdla: Souvenir Dvorak: Humoresque Sarasate: Zigeunerweisen Wieniawski: Finale from Violin Concerto No. 2 Sarasatre: Spanish Dance (Op. 26, No. 2) |
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