专辑英文名: Symphony No.5,Blest Pair of Sirens,Symphonic Variations,Elegy for Brahms
专辑中文名: 第五交响曲，一对幸福的海妖，交响变奏曲，勃拉姆斯挽歌
艺术家: Hubert Parry
古典类型: 交响曲
资源格式: APE
版本: LPO,LPC,BOULT (Conductor)
发行时间: 1998年
地区: 美国
语言: 英语
简介:
作曲：Hubert Parry
演奏：London Philharmonic Choir/Frederic Jackson
London Philharmonic Orchestra/Adrian Boult
发行公司：EMI
资源出处：RapidShare
专辑简介：
Charles Hubert Hastings Parry (February 27, 1848 - October 7, 1918)爵士，英国作曲家，他最著名的可能就是这首为William Blake’s的诗谱曲的歌曲《耶路撒冷》。帕里出生在博恩茅斯一个艺术爱好者家庭，就读于牛津的埃顿和埃克塞特学院，他曾和英国出生的作曲家Henry Hugo Pierson在斯图加特学习， 和William Sterndale Bennett、Edward Dannreuther在伦敦学习。他第一部大型作品是1880年的一部钢琴协奏曲、为谢莉的戏剧《普罗米修斯的解放》配乐。1884年他加入了皇家音乐学院，1894年他被任命为院长直到去世。1900 年至 1908年，他还任牛津大学音乐教授。他后期的作品包括五部交响曲和包括Blest Pair of Sirens (1887)颂歌、赞美诗I was glad (1902) 和歌曲Songs of Farewell (1916-1918)。他的作曲主要受巴赫和伯拉姆斯的影响，他发展了强大的全音阶风格（a powerful diatonic style），对未来的英国作曲家艾尔加和伏昂威廉斯产生较大影响。他与诗人Robert Bridges合作，编写了包括The Evolution of the Art of Music (1896)在内的音乐书，Oxford History of Music (1907)第三册，并从事对巴赫的研究工作(1909)。
帕里这样一位英国作曲家，对一般爱乐者而言恐怕是很少听到的。之所以会搜遍互联网，仅仅是为了其中一首“Blest Pair of Sirens”。当时在CCTV音乐频道播放的英国“逍遥音乐节”上听到了这曲，便记住了它的中文译名“一对幸福的海妖”。也有译作“天赋的歌喉”？实在不得其解。旋律固然优美，荡气回肠的合唱更让我对这支根据英国诗人弥尔顿同名诗作而谱写的曲子印象深刻。第五交响曲其实也相当不错，就如同帕里的《耶路撒冷》、《Blest Pair of Sirens》一样，充满着一种赞美诗、圣咏的味道。（自语）
There are some mysteries about the decisions of record companies. Why this was issued by EMI in early batches from their British Composers series and then allowed to slip into deletion hell we shall never know. Much the same question arises with the same company and series in relation to Arthur Bliss's Morning Heroes recorded by Charles Groves with the RLPO and RLP Chorus (CDM 7 63906 2). Perhaps Arkiv will secure the license to issue the Bliss as well?
In any event the present disc, largely recorded at one of Boult's final sessions now appears courtesy of Arkiv's on-demand service. It's handsomely done by Arkiv and the booklet in quality is now indistinguishable from the original disc except for the Arkiv logo on the back.
As for the music, Parry is much more than a museum piece or a pawn on the chess board of music history. The language moves between Brahms and Schumann, leaning more toward Brahms. You can hear that from the very start of the Fifth Symphony in which Boult, even at his then advanced age, catches all the conflagration that blazes through Parry's equally fiery First Symphony. The Fifth Symphony is however more concise than his earliest symphony and runs to four tersely-titled movements: Stress, Love, Play, Now. These titles are in themselves fascinating - noting the change from states of existence to a temporal statement (Now) in which the emotional state can only be extracted from listening to the music. This is warmly Brahmsian in the manner of the Second and Fourth symphonies with a Viennese Schubertian lilt in the Play movement. The finale is the longest at 7:40. The start of the Play movement is redolent of Elgar's Enigma. This movement has a touch of Nobilmente as well as of early Straussian exuberance.
Twenty-five years earlier came Parry's Blest Pair of Sirens set to Milton's poem At a Solemn Music. It here receives a golden sunburst of a performance and recording notable for the tonal weight of the choir even if sung unanimity is not always perfect. This recording was made in 1966.
The Symphonic Variations are sturdy but take a while in this performance to catch the heavenly fire to defeat the academic surface of most sets of variations. Parry's magnificent way with the striding horns can be heard at 2:12. How good it would be to hear these Variations alongside the similarly grand Elegiac Variations by Thomas Dunhill. Michael Pope in his fine liner-note tells us that Parry regarded Brahms as the greatest artist of the time. Parry's overture-length Elegy for Brahms in fact had to wait until 1918 for its premiere. At that stage it had been revised by Stanford who conducted the work at the Parry Memorial Concert at the RCM on 8 November 1918. Boult makes this Elegy shine in a golden aureole which celebrates Brahms rather than laments him.
Boult conducting Parry was clearly something special and Parry's music drew grand things from Boult even into old age. A golden anthology well worth the outlay alongside Nimbus's recording of the First Symphony (Boughton – a magnificently alive version), Boult's Lyrita collection and Bamert's Chandos Parry cycle.
Rob Barnett
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