专辑英文名: Vienna New Year's Concert 2000
专辑中文名: 2000维也纳新年音乐会
艺术家: Riccardo Muti
古典类型: 室内乐
资源格式: APE
发行时间: 2000年1月1日
地区: 奥地利
语言: 德语
简介:
发行公司：EMI
演奏乐团：Wiener Philharmoniker 维也纳爱乐乐团
演奏指挥：Riccardo Muti 里卡尔多·穆蒂
资源简介：
这是里卡多·穆蒂继1993,1997年来第3次指挥维也纳新年音乐会。本次音乐会传承了以往音乐会的以施特劳斯家族作品为主的形式。首次录音了约翰施特劳斯的英格兰波尔卡，来自多瑙河岸边快速波尔卡。约瑟夫施特劳斯的圣母的歌声圆舞曲。还特别推出爱德华施特劳斯的问候布拉格。本次音乐会是20世纪的最后一次新年音乐会。
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以下是小册子上的介绍
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New Year’s Concert 2000
The chimes of midnight that mark the arrival of a New Year acquired extra significance as the calendar moved from 1999 to 2000. Some of that extra excitement permeates the year 2000’s Vienna Philharmonic Orchestra New Year Concert from the Musikverein in Vienna, the third to be conducted by Riccardo Muti following his previous appearances in 1993 and 1997.
The programme presents the usual mixture of perennial favourites and little-known gems. With just one exception, all are by the Strauss Family. The exception is the popular overture by Franz von Suppe for the Viennese play ‘Morning, noon an night in Vienna’, 1884. With varied moods and tempos Suppe perfectly captures the spirit of a day in Vienna from early-morning calm to late-night revelry.
The concert offers a generous allocation of eleven pieces by the ‘Waltz King’ Johann Strauss. Of his four waltzes, the earliest is the graceful Love Songs, composed for a summer celebration in Vienna’s Volksgarten in June 1852. Wine, Woman and Song is one of his most majestic waltzes, but is unusual in style for its extremely long introductory section. This is a legacy of the work’s 1869 origins as a work for chorus and orchestra and is usually abridged in orchestral performance. In the Lagoon Waltz Strauss followed is custom of arranging melodies from his stage works into a waltz for the ballroom. The fourth Johann Strauss waltz, ‘By the beautiful Blue Danube’ of 1867 needs no introduction. It represents the musical personification ov Vienna, and without it no Vienna New Year Concert would be complete.
The five Johann Strauss polkas in the programme fall into the two categories of the traditional jaunty French polka and quick polka akin to the gallop. Two of the five are receiving their first performances at a New Year Concert. The quick Hellenes polka was composed for a private Greek Ball at the home of the Greek Ambassador in Vienna in February 1858. By contrast, the slower Albion polka looks westwards to Great Britain. It was dedicated to Prince Albert of Saxe-Conburg-Gotha, husband of Queen Victoria, and composed for a ball given by the Earl of Westmorland, the music-loving british Ambassador in Vienna, at the Palais Coburg in1852.
Of the other three Johann Strauss quick polkas, the process polka was composed for the annual Carnival ball of the law students of the Vienna High School at the Sophiensaal in January 1865. We lapse into the Hurrah for the Hungarians!, a piece that breathes Hungarian fire and contains a quotation frome the Rakoczi March. Strauss composed the piece for a ball in pest in March 1869 and dedicated it to ‘the noble Hungarian nation’. In From the Danube shore, 1873 we further invoke the spirit of the river that links Budapest and Vienna, though the operetta from which the themes were taken had an Italian setting- the Carnival in Rome.
Two further pieces complete the Waltz King’s contributions. The sabre-rattling Persischer Marsch was dedicated to the Shah of Persia and first performed in Pavlovsk near St Petersburg on one of Strauss’s summer seasons there in July 1864. For the other we move into Hungarian mode again for the czardas from the ballet music of Johann Strauss’s one attempt at a genuine opera with Knight Pazman, produced at the Vienna Court Opera on New Year’s Day, 1892.
Joseph Strauss has often been considered the most gifted of the three Strauss brothers. Certainly there is extra grace and refinement about his music, as witness the three works in this collection. The dragonfly, fist performed at a Volksgarten concert in October 1866, transcends the polka Mazurka dance form to a remarkable extent to create a tone poem of the utmost delicacy. A singularly apt comment on Joseph’s truly artistic personality is provided by the polka Artist’s Greeting, composed for the inaugural ball of the Gesellschaft der Musikfreunde in January 1870. It is , though, Joseph’s waltzes that give the best opportunity to savour his sensitivity and technical resource. This is certainly the case with Sounds of Marie, a beautiful piece that has never before been performed at these concerts. It was named after its dedicatee, Princess Marie von Kinsky, patron of the ballfor which it was composed in February 1867.
The third Strauss brother, Eduard, was most successful with shorter dance forms. The slower Greeting to Prague polka, another piece receiving its first airing at these concerts was composed for a ball of Ger,am stidemts om {ragie om February 1877. The rapid By special post was fist performed in October 1877. Like Artist’s Greeting, it was first heard in the very hall of the Musikverein where the New Year Concert takes place each year.
As if keeping watch over his offspring, the concert ends, as always, with the elder Johann Strauss. Composed in honour of Field-Marshal Count Radetzky von Radetz, leader of the victorious Habsburg forces over Italians at Custozza in July 1848, the Radetzky-Marsch, his most famous composition, sets the music of the Strauss family marching determinedly on towards the twenty-first century.
