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李斯特:《但丁交响曲》《塔索,哀叹与胜利》/ 波特斯坦指挥伦敦交响乐团

Telarc  SACD-60613

Stereo/Multichannel Hybrid

Classical - Orchestral

Liszt: Eine Symphonie zu Dantes Divina Commedia "Dante Symphony", Tasso, Lamento e Trionfo

London Oratory School Schola
London Symphony Orchestra
Leon Botstein (conductor)

李斯特从青春期就爱读但丁的「神曲」,1830年代据说也常与情妇共同研读这部名着。1837年他写成钢琴曲《但丁读后感》初稿(乐界则通称此曲为《但丁奏鸣曲》),1857年进一步将乐想扩张成《但丁交响曲》,并将它题献给瓦格纳。全曲分成《地狱》和《炼狱(或涤罪所)》两个乐章,并且在《炼狱》乐章结尾搭配由女声合唱的《圣母颂歌》,来传达天堂的喜悦,也更符合但丁「神曲」原着的架构。

1849年的交响诗《塔索,哀叹与胜利》,係为纪念大文豪歌德百岁冥诞场合而写,原始风貌乃是歌德戏剧《塔索》舞台演出时的序曲。塔索是文艺復兴晚期意大利最伟大的诗人,全曲描写艺术家心灵的困境,以及最终超越坟墓的胜利。

着名指挥家兼音乐学者里昂.波特斯坦曾任纽约巴德学院院长多年,现任美国交响乐团和耶路撒冷交响乐团的音乐总监。他擅长罕见曲目,上次指挥伦敦交响乐团所灌录的葛里耶《第3号交响曲》,一上市就被英国最权威的Gramophone杂志选为「当月最佳推荐盘」。

Telarc releases a compelling recording of Franz Liszt’s “Eine Symphonie zu Dantes Divina commedia” and “Tasso, lamento e trionfo” with the London Symphony Orchestra under the direction of Leon Botstein and featuring London Oratory School Schola.

“I have been working fairly continuously on my symphonic poems, which for now and for the next few years are my life’s work.” Thus did Franz Liszt (1811-1886) describe his compositional activities in the mid-1850s. His dedication to orchestral writing in this period was, in fact, remarkable, as he completed no less than fourteen works in a decade. Though the new job as Director of Music at the Court in Wiemar required Liszt to cut back on his career as a highly successful virtuoso pianist, he did recognize the new position as a chance to expand his expressive potential as a composer.

“Eine Symphonie zu Dantes Divina commedi” (1855-56) is based on the poetic masterpiece of Dante Alighieri (1265-1321). The two movements of the symphony, “Inferno” and “Purgatory,” chart the journey of the soul toward Paradise, with some of the musical ideas taken directly from Dante’s text (the opening theme, for instance, provides a literal setting of four lines inscribed on the Gates of Hell at the opening of the third Canto). The work stops short of heaven, though it does provide a glimpse of heaven with a haunting choir intoning the words of the Magnificat at the threshold to the higher sphere. Perhaps even for Liszt, there was a limit to where earthly music dared tread.

“Tasso,lamento e trionfo” was originally written as an overture to a stage production of Goethe’s drama Torquato Tasso held in honor of the writer’s 100th birthday celebration at Weimar in 1849. The play recalls the life and passions of Torquato Tasso (1544-1595), whose literary masterpiece about the first Crusade, La Gerusalemme Liberata, made him arguably the greatest Italian poet of the late Renaissance. Byron looms in the background to this work as well, for it is his Lament of Tasso which strongly suggests itself in the symphonic poem’s subtitle and in the exploration of an artistic soul wracked by doubt which opens the work. Liszt transforms these doleful themes into radiant melodies in the second half of the piece, heralding the artist’s ultimate victory beyond the grave.

Leon Botstein is music director and principal conductor of the American Symphony Orchestra, which performs at Lincoln Center’s Avery Fisher Hall. His recordings for Telarc with the London Philharmonic include the music of Max Reger; Bartok’s Concerto for Orchestra; music of Szymanowski; symphonies of Karl Amadeus Hartmann; Dohnanyi’s D minor symphony; and Bruckner’s Fifth Symphony (Shalk edition). Most recently, Telarc released a recording of Richard Strauss’s rare opera, Die Agyptische Helena with Deborah Voigt, which was recorded live at Avery Fisher Hall in New York with Botstein and the American Symphony Orchestra.

Tracklist
1. Dante: I. Inferno
2. Dante: II. Purgatorio
3. Tasso, lamento e trionfo
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