专辑英文名: Elgar Complete Works for Organ
专辑中文名: 埃尔加管风琴作品
艺术家: John Butt
古典类型: 奏鸣曲
资源格式: APE
发行时间: 2002年
地区: 美国
语言: 英语
简介:
作曲：Edward Elgar 爱德华·埃尔加
演奏：John Butt
录音日期：2000
发行日期：2002
发行公司：harmonia mundi
唱片编号：HMU 907281
资源出处：来自网盘下载，感谢乐友tydhz提供资源，经本人允许后发布
资源格式：整轨ape
专辑介绍：
爱德华·埃尔加（Edward Elgar，1857－1934）英国作曲家，自幼随父亲学钢琴与小提琴，异常勤奋，主要靠自学掌握了多种乐器的演奏，尤以小提琴见长。其父为伍斯特的音乐书商及管风琴师。埃尔加未受正规音乐教育，但学习过管风琴、小提琴和大管。他有志成为专业小提琴独奏家，在伦敦从阿道夫·波利策上过几次课，但后来放弃了这一想法。他早年担任过的工作有伍斯特合唱队指挥（1879）、伍斯特郡精神病院管乐队指挥（1879）和伍斯特业余器乐协会指挥（1882）。
1885年承父业任伍斯特教堂风琴手。他的音乐真实自然，富于创新精神，对英国音乐的发展很有促进。与卡罗琳·艾丽斯·罗伯茨结婚后赴伦敦，但发现伦敦不利于他事业的发展，遂于1891年定居莫尔文。
其妻卡罗琳·艾丽丝·罗伯茨对他帮助极大，其成功之作几乎全是在婚后创作的，著名的有：大合唱《杰龙修斯之梦》、《b小调小提琴协奏》、《第一交响曲》、《第二交响曲》、《e小调大提琴协奏曲》、合唱曲《黑色骑士》和《奥拉夫国王》等等，他的艺术毫不偏狭，思维极为宽广，曾受德国浪漫主义的影响，风格庄严而淳朴，英国人民把他看作是英国的贝多芬。
他的第一场重要演出是伍斯特联合唱诗班节上的音乐会序曲《弗鲁瓦萨尔》（1890）。接着是各种合唱曲：《黑武士》（伍斯特，1896），《生命之光》（伍斯特，1896），《圣乔治的旗帜》（伦敦，1897），《卡拉克塔利斯》（利兹，1898）。管弦乐曲《谜语变奏曲》（1899）和清唱剧《杰隆修斯之梦》（伯明翰，1900）——他的几部受天主教教义启迪而写的作品之一——树立了他作为第一流作曲家的声誉。但这部作品的演出次数不多，直到1902年在杜塞尔多夫才认为他的杰作。此后的二十年（至1920年其妻去世）作有清唱剧两部，几部大型管弦乐曲和一些室内乐。1920年以后无重要作品，英国广播公司约写的《第三交响曲》和歌剧《西班牙夫人》仅完成草稿。曾任伯明翰大学教授（1905-1908）及王室乐师（1924）。1904年受封为爵士，1931年受封为从男爵。
《威风堂堂进行曲》是英国作曲家埃德华·埃尔加1901年的作品，也是最为人熟知的一首作品同年10月在利物浦首演，不久在伦敦演出受到热烈欢迎。曲名“威风堂堂”取自英国戏剧家莎士比亚的名剧《奥赛罗》第三幕中的一句台词：“永别了，…属于战争的一切，光荣、自豪和威风堂堂的大场面”。埃尔加共写作了五首《威风堂堂进行曲》，在首次演奏时，它们那庄严、热情、带有英国特色、充满朝气的曲调，就深深打动了每个听众的心。尤其是第一首D大调，更是受到人们的普遍赞扬而广为流传。每当演奏结束，人们总是报以热烈的掌声和欢呼，加演一遍还不能满足人们的要求，以至不得不再演奏第二遍、第三遍。由于《威风堂堂进行曲》热情庄重，很适于在重要仪式上演奏，所以它又被称作《第一号仪式进行曲》。后来还作为英国国王的加冕进行曲，现代在西方高校的毕业典礼上还一直以它为背景音乐。
他作为浪漫派作曲家终身不渝，虽然成熟时期茂盛的风华凝聚为老年人的深思和怀旧。他喜爱色彩变化，对乐队的驾双在当时无出其右。作品的充沛感情驳斥了某些人认为英国音乐应当稳重、含蓄的看法。但对更多的人来说，他那丰富的人道主义精神犹如新的觉醒。他所创造的风格和音乐语言极为个性化，赢得了“埃尔加式”的美称。他对别人的研究——在《谜语变奏曲》和《法尔斯塔夫》中——实际上是自身的投影。他的《第二交响曲》常被看作爱德华时代的图画，实际是作者自身的写照。他怕成为名人，但许多人即使从未听过他的严肃作品也熟悉他的进行曲。他的几部清唱剧是自幼培植起来的信抑的表白。《杰隆修斯之梦》历来被认为是最优秀的作品，因为它是个连贯的整体。但近年来对他以后作品的重新评价，至少有一位权威（艾德里安·博尔特爵士）认为《王国》在结构上胜过《杰隆修斯》。
他一生忠心耿耿地为提高英国的音乐水平而努力，1904年曾封为爵士并获功绩勋章。此外，还获剑桥大学、牛津大学、坎脱勃莱及美国耶鲁大学音乐博士学位，1924年被聘为英王御前音乐教师
John Butt was born in 1960 (in Solihull, West Midlands) and was educated (on a music scholarship) at Solihull School. As an undergraduate at Cambridge University, he held the office of organ scholar at King's College. Continuing as a graduate student, he studied the music of Bach, surveying articulation markings in autograph manuscripts and receiving his PhD in 1987. He was subsequently a lecturer at the University of Aberdeen and a Fellow of Magdalene College Cambridge, joining the faculty at UC Berkeley in 1989 as University Organist and Assistant Professor in Music (Associate Professor in 1992). In Autumn 1997 he returned to Cambridge as a University Lecturer and Fellow of King's College, and in October 2001 he became the Gardiner Chair of Music at the University of Glasgow, and Head of the Music Department (2001-05).
His books have been published by Cambridge University Press: his study of articulation, Bach Interpretation (1990), a handbook on Bach’s Mass in B Minor (1991), Music Education and the Art of Performance in the German Baroque (1994). Playing with History (2002) marked a new tack, examining the broad culture of historically informed performance and attempting to explain and justify it as a contemporary phenomenon. He is also editor of (and contributor to) the Cambridge Companion to Bach (1997), consultant editor for the Oxford Companion to Bach, and joint editor (together with Tim Carter) of the Cambridge History of Seventeenth Century Music (2005). His recent research has ranged from aspects of the ontology of music in the seventeenth century to considerations of the influence of plainchant and Roman Catholic culture in the music of Elgar. His book on Bach’s Passions, Bach’s Dialogue with Modernity, will be published in late 2009.
John Butt’s conducting engagements with the Dunedin Consort (2003-) have included major Baroque repertory and several new commissions. His recording of Messiah in its first performed version (Dublin, 1742) was released by Linn records in 2006 and received the ClassicFM/Gramophone award in the Baroque Vocal Category in 2007 and the MIDEM award for Baroque Music in 2008. Linn released his recording of Bach's Matthew Passion in March 2008 (which was ClassicFM Magazine’s Recording of the month in April 2008), and Handel’s Acis and Galatea in November 2008 (which was Gramophone’s Editor’s Choice and Recording of the Month in January 2009). He will be recording Bach’s Mass in B Minor with the Dunedin Consort in September 2009.
John Butt continues to be active as a solo organist and harpsichordist, performing across the world. Eleven recordings on organ, harpsichord and clavichord have been released by Harmonia Mundi. These also include (together with violinist Elizabeth Blumenstock) Bach's sonatas for violin and obbligato harpsichord. His most recent organ recordings are of the Bach organ toccatas and Schübler Chorales and Elgar's complete organ music. He has been guest conductor with the Philharmonia Baroque Orchestra, San Francisco, the Göttingen Handel Festspiele, and the RSAMD Chamber Orchestra and Chorus. He conducted a newly discovered Scarlatti opera at the 1996 Berkeley Festival. As an organist and harpsichordist he has performed throughout the UK and the USA and also in Germany, including concertos with St Paul’s Chamber Orchestra, Philharmonia Baroque and the San Francisco Symphony. BBC broadcasts since 2000 include a programme on Bach's Weimar organ music from the chapel at Weimar and a programme of Handel and Mozart from the University of Glasgow Chapel.
In 2003 he was elected to Fellowship of the Royal Society of Edinburgh and received the Dent Medal of the Royal Musical Association. That year his book, Playing with History, was shortlisted for the British Academy's annual Book Prize. In 2006 he was elected Fellow of the British Academy and began a two-year Leverhulme Major Research Fellowship for his research on Bach's Passions.
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