Susanna Mälkki

Helsinki Philharmonic Orchestra

《Sibelius: Karelia Suite, Rakastava & Lemminkäinen》以芬兰传奇作曲家西贝柳斯的音乐棱镜，折射出北欧史诗的深邃意境。卡累利亚组曲以铜管与木管的对话构建层叠音景，仿佛冰川与森林在弦乐织体中碰撞出自然史诗；《Rakastava》则剥离恢弘框架，用极简弦乐勾勒出私密的情感褶皱，宛如极夜中跳动的烛火。指挥家与赫尔辛基爱乐乐团在《Lemminkäinen》中施展魔法，四则神话场景通过渐变的动态张力苏醒——从竖琴涟漪到定音鼓雷暴，每个休止符都暗藏叙事伏笔。这张唱片既是音响工程师雕琢的空间诗学，更是对西贝柳斯民族精神密码的当代破译，适合在暮色渐浓时开启一场浸入式北欧音画漫游。

Sibelius: Karelia Suite, Rakastava & Lemminkäinen

Jean Sibelius

I. Intermezzo. Moderato

II. Ballade. Tempo di Menuetto

III. Alla marcia. Moderato

I. The Lover. Andante con moto

II. The Path of His Beloved. Allegretto

III. Good Evening!... Farewell! Andantino - Doppio più lento - Lento assai

I. Lemminkäinen and the Maidens of the Island. Allegro molto moderato - Allegro moderato

II. The Swan of Tuonela. Andante molto sostenuto

III. Lemminkäinen in Tuonela. Il tempo largamente - Molto lento - Largo assai

IV. Lemminkäinen's Return. Allegro con fuoco - Quasi Presto - Presto

Los Angeles Philharmonic Orchestra

聆听这张专辑，如同一系列激动人心的连锁反应在你耳边不可阻挡地发生，每一个音符都不容错过，美国极简主义作曲家 Steve Reich 把《Music for Ensemble and Orchestra》称为“《Runner》的续篇”，因为这两部作品都有五个乐章，都采用ABCBA的回文结构，也都使用十六分音符、八分音符和四分音符的精巧循环来塑造节奏轮廓。同时，两者也都由双钢琴驱动迷人的固定音型，营造出高度完整协调的音乐世界。然而，在 Susanna Mälkki 振奋人心的指挥与洛杉矶爱乐乐团全情投入的演奏中，我们也能明确分辨出轻盈的室内乐作品《Runner》和富于管弦回响与深度的《Music for Ensemble and Orchestra》之间的不同。

Steve Reich: Runner / Music for Ensemble and Orchestra

Bela Bartok

On two highly praised albums, Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have released recordings of Béla Bartók’s three scores for the stage – The Miraculous Mandarin, The Wooden Prince and Bluebeard’s Castle, all written before 1918. The team now takes on two of his late orchestral masterpieces. Composed in 1936 for the Basel Chamber Orchestra, Music for Strings, Percussion and Celesta is one of the purest examples of Bartók’s mature style, with its synthesis of folk music, classicism and modernism. One immediately striking feature is the unusual instrumentation: two string orchestras seated on opposite sides of the stage, with percussion and keyboard instruments in the middle and towards the back. In 1940, during the Second World War, Bartók emigrated to the U.S.A., where he initially found it difficult to compose. In 1943 he received a prestigious commission from the Boston Symphony Orchestra, however, and in less than eight weeks he composed the Concerto for Orchestra. In it he worked with contrasts between different sections of the orchestra, and the soloistic treatment of these groupings was his reason for calling the work a concerto rather than a symphony.

Bartók: Orchestral Works

Andreas Haefliger

Dieter Ammann

When Andreas Haefliger conceived this unusual combination of concertos it was with the aim of putting into perspective three pieces, each a unique and highly expres­sive highlight from the composers’ output. That Maurice Ravel’s Concerto for the Left Hand and Béla Bartók’s Third Piano Concerto fulfilled the requirements was a given: towards the end of his life Bartók wrote his most lyrically expressive concerto while Ravel, inspired by the qualities of the left hand register, wrote a piece full of dark yearning and grotesquely fauvistic dances. The third work was more of a gamble, being a newly commissioned and not yet written concerto. The risk was a calculated one, however, given the stellar reputation of the composer Dieter Ammann, as well as Haefliger’s personal acquaintance with him. But as Haefliger himself remarks: ‘Little could have prepared me for the exceptional work I was to receive: The Piano Concerto – Gran Toccata. Keeping tradition close by as an ally in the layering of harmony and rhythm, it explodes into futuristic visions in an extremely personal language and, through its kaleidoscopic colours and pianistic virtuosity, reinvents the genre for the 21st century.’ The concerto was premiered at the 2019 BBC Proms, and Andreas Haefliger has since performed it in Boston, Munich and Helsinki, where the present recording was made. On all three occasions, he has been partnered by Susanna Mälkki, chief conductor of the Helsinki Philharmonic Orchestra which lends Haefliger eminent support in all three works.

Ammann, Ravel & Bartók: Piano Concertos

The Wooden Prince and The Miraculous Mandarin are – together with the earlier opera Bluebeard’s Castle – the only stage works by Béla Bartók. They stand apart from the more abstract and often more explicitly folk-related character of the music that we primarily associate with the composer. They are nevertheless major achievements that in different ways highlight Bartók’s imaginative use of the modern orchestra. Set in an enchanted forest, The Wooden Prince is based on a fairytale-like libretto featuring a prince and princess. The two are subjected to various trials, but at the end of the ballet they are allowed to come together and live – we assume – happily ever after. In stark contrast, The Miraculous Mandarin takes place in an urban brothel where three robbers force a girl to seduce men so that they can overpower and kill them. The subject-matter and the erotic qualities of much of the music caused a scandal at the première in 1926, and for a long time the score was primarily performed in the shorter concert version heard on the present release, the first from the team of the Helsinki Philharmonic Orchestra and Susanna Mälkki, the orchestra’s chief conductor since 2016.

Bartók: The Wooden Prince, Op. 13, Sz. 60 & The Miraculous Mandarin Suite, Op. 19, Sz. 73

Lotusland - Symphonic Works by Arvid Kleven

Tiensuu, J.: Nemo / Clarinet Concerto,  Puro / Spirit

https://image.joox.com/JOOXcover/0/73ab475e771d2ed3/300

Sibelius: Karelia Suite, Rakastava & Lemminkäinen

歌曲列表

Sibelius: Karelia Suite, Rakastava & Lemminkäinen

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