里姆斯基·科薩科夫 - 山魯佐德 |克里斯蒂安·馬塞拉魯 |西德廣播交響樂團 Rimsky-Korsakov - Scheherazade | Christian Măcelaru | WDR Symphony Orchestra

Rimsky-Korsakov - Scheherazade | Christian Măcelaru | WDR Symphony Orchestra
里姆斯基·科薩科夫 - 山魯佐德 |克里斯蒂安·馬塞拉魯 |西德廣播交響樂團

Scheherazade by Nikolai Rimsky-Korsakov, performed by the WDR Symphony Orchestra under the baton of Cristian Măcelaru. Recorded live on 21 September 2024 at the Kölner Philharmonie.
Nikolai Rimsky-Korsakov - Scheherazade. Symphonic Suite op. 35
Cristian Măcelaru, conductor
WDR Symphony Orchestra
尼古拉·里姆斯基-科薩科夫的《山魯佐德》由西德廣播交響樂團在克里斯蒂安·馬塞拉魯的指揮下演奏。 2024 年 9 月 21 日在科隆愛樂樂團現場錄音。
尼古拉·里姆斯基-科薩科夫 - 山魯佐德。交響組曲作品。 35
克里斯蒂安·馬塞拉魯，指揮
西德廣播交響樂團

00:00:00 - I. The Sea and Sinbad's Ship.
Largo e maestoso – Allegro non troppo – Tranquillo
00:10:38 - II. The Legend of the Kalendar Prince.
Lento – Andantino –Tempo giusto. Allegro molto – Vivace scherzando – Allegro molto ed animato – Con moto
00:23:23 - III. The Young Prince and The Young Princess.
Andantino quasi allegretto – Pochissimo più mosso – Come prima – Pochissimo più animato
00:34:12 - IV. Festival at Baghdad. The Sea. Ship Breaks upon a Cliff Surmounted by a Bronze Horseman.
Allegro molto – Vivo – Più stretto – Spirituoso – Allegro non troppo e maestoso – Poco più tranquillo
00:00:00 - I. 大海和辛巴達的船。
大而雄偉 – 快樂不過分 – 安靜
00:10:38 - 二.卡倫達爾王子的傳奇。
慢速——行板——正確的節奏。 Allegro 非常 – 活潑開玩笑 – Allegro 非常活潑 – 帶有動作
00:23:23 - III.年輕的王子和年輕的公主。
Andantino quasi allegretto – 幾乎沒有更多的感動 – 和以前一樣 – 幾乎沒有更多的動畫
00:34:12 - 四。巴格達的節日。船在懸崖上斷裂，青銅騎士登上了懸崖。
Allegro 非常 – 活潑 – 更接近 – 機智 – Allegro 不太雄偉 – 更平靜一點

Introduction
The collection of stories entitled ‘One Thousand and One Nights’ has inspired numerous composers. The best-known musicalisation is certainly the symphonic suite ‘Scheherazade’ by Nikolai Rimsky-Korsakov. Like Bedřich Smetana's ‘Moldau’ or Paul Dukas' ‘The Sorcerer's Apprentice´, it is considered the epitome of programme music. However, the composer himself saw it differently. Rimsky-Korsakov did not even originally intend to give the four movements programmatic titles. He only added them at the suggestion of his student Anatoly Lyadov. This is how Rimsky-Korsakov described his intention in this regard: ‘The headings were only intended to guide the listener's imagination in the direction that my own imagination had taken while composing. The elaboration of
the details should be left to the imagination and the mood
of each individual listener.’ Rimsky-Korsakov also preceded his score with a substantive introduction: ’Sultan Schahriar, convinced of the falseness and unfaithfulness of women, had sworn to have each of his wives killed after the first night. But Scheherazade, the daughter of the Grand Vizier, saved her life by capturing his interest with the fairy tales she told him during the Thousand and One Nights. Under the impact of the suspense, the sultan postponed Scheherazade's execution from day to day, and finally he abandoned the cruel decision altogether.’ In each of the four movements of the suite, Rimsky-Korsakov musically depicts one of these tales. In doing so, he shaped some details so vividly that they are quite clear to interpret. There are two musical motifs in particular: one sounds right at the beginning and characterises the brutal sultan with its sonic force. The other describes the realm of Scheherazade with shimmering garlands of the solo violin and harp. It is clear: a sophisticated storyteller who has mastered all the finesses and stratagems of building suspense. And omnipresent in this work is the surging sea. Rimskij-Korsakov's ‘Scheherazade’: a musical picture sheet of tonal splendour.
Text: Otto Hagedorn
介紹
名為《一千零一夜》的故事集啟發了無數作曲家。最著名的音樂作品無疑是尼古拉·里姆斯基·科薩科夫的交響組曲《天方夜譚》。就像貝德里奇·斯美塔那的《莫爾道》或保羅·杜卡斯的《魔法師的學徒》一樣，它被認為是節目音樂的縮影。然而，作曲家本人卻有不同的看法。里姆斯基-科薩科夫最初甚至沒有打算給這四個樂章一個綱領性的標題。他只是在學生阿納托利·利亞多夫的建議下添加了它們。里姆斯基-科薩科夫是這樣描述他在這方面的意圖的：“這些標題只是為了引導聽眾的想像力朝著我自己在作曲時的想像力所採取的方向發展。”的闡述
細節要留給想像和心情
里姆斯基-科薩科夫也​​在他的樂譜前做了一段實質性的介紹：「蘇丹沙赫里亞爾深信女性的虛偽和不忠，他發誓要在第一晚之後殺死他的每一個妻子。但大維齊爾的女兒山魯佐德在一千零一夜期間給他講的童話故事引起了他的興趣，從而救了她的命。在懸念的影響下，蘇丹日復一日地推遲了對謝赫拉佐德的處決，最後他完全放棄了這個殘酷的決定。科夫用音樂描繪了其中一個故事。在這樣做的過程中，他將一些細節塑造得如此生動，以至於它們很容易解釋。特別有兩個音樂主題：一個從一開始就發出聲音，並以其聲音力量來描繪殘酷的蘇丹。另一個描述了山魯佐德的境界，小提琴和豎琴獨奏閃閃發光的花環。很明顯：一個老練的講故事的人掌握了營造懸念的所有技巧和策略。而這部作品中無所不在的就是洶湧的大海。里姆斯基-柯薩可夫的《天方夜譚》：一幅音色輝煌的音樂畫卷。
文字：奧托·哈格多恩

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