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[转帖] 3★冷门 -【Naxos】道兰德(1563-1626) 鲁特琴音乐全集(4CDs)

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发表于 2017-12-22 13:44:14 | 显示全部楼层 |阅读模式
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3★冷门 -【Naxos】道兰德(1563-1626) 鲁特琴音乐全集(4CDs)

Nigel North - John Dowland: Complete Lute Music (2009, Naxos, 4CDs)
奈杰尔·诺斯演奏 - 约翰·道兰德: 鲁特琴音乐全集


Composer: John Dowland (1563-1626) 约翰·道兰德
Performers: Nigel North (b.1954) lute 奈杰尔·诺斯 (http://www.nigelnorth.com/)
Series: Boxed Sets
Genre: Instrumental
Period: Renaissance
Label: Naxos
Catalog No.: 8.504016 (https://www.naxos.com/catalogue/item.asp?item_code=8.504016)
        Vol. 1 - 8.557586 (https://www.naxos.com/catalogue/item.asp?item_code=8.557586)
        Vol. 2 - 8.557862 (https://www.naxos.com/catalogue/item.asp?item_code=8.557862)
        Vol. 3 - 8.570449 (https://www.naxos.com/catalogue/item.asp?item_code=8.570449)
        Vol. 4 - 8.570284 (https://www.naxos.com/catalogue/item.asp?item_code=8.570284)
Number of Discs: 4
Physical Release: 10/2009 (Vols. 1-4: 06/2006, 12/2006, 12/2007, 03/2009)


Arguably the finest recordings of Dowland’s much-loved lute music, Nigel North’s Dowland Lute Edition has gained him a garland of critical accolades: ‘A collector’s item’ (The Times on Vol 1, 8.557586), ‘a remarkable performance of wonderful music’ (American Record Guide on Vol 2, 8.557862), ‘North’s sweet-toned playing is both unfailingly musical and highly imaginative’ (Gramophone on Vol 3, 8.570449), ‘Nigel North’s Dowland cycle sets a new benchmark’ (5 STARS, BBC Music Magazine), ‘Everything comes together for perfection.’ (MusicWeb International on Vol 4, 8.570284). Nigel North is one of the most highly respected lutenists today.


8.557586 - DOWLAND, J.: Lute Music, Vol. 1 (North) - Fancyes, Dreams and Spirits 幻想, 梦幻与灵魂
8.557862 - DOWLAND, J.: Lute Music, Vol. 2 (North) - Dowland's Tears 道兰德的眼泪
8.570449 - DOWLAND, J.: Lute Music, Vol. 3 (North) - Pavans, Galliards and Almains 帕凡舞曲, 加利亚德舞, 德国土风舞
8.570284 - DOWLAND, J.: Lute Music, Vol. 4 (North) - The Queen's Galliard 女王的加利亚德舞(流行于16至17世纪宫廷的轻快的三拍子舞蹈 )


NIGEL NORTH 奈杰尔·诺斯  
(b 1954)

Born in London, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington since 1999. Initially inspired into music, at the age of seven, by the early 1960s instrumental pop group The Shadows, he studied classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was fifteen. Basically self-taught on the lute, he has since 1976 developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. His principal music passions apart from teaching are accompanying singers, the solo lute repertoires of Elizabethan England and late German Baroque music of Bach and Weiss.


奈杰尔·诺斯(Nigel North)是印第安纳大学音乐学院早期音乐系(Early Music Department)的教授,操着浓烈英国口音的大不列颠人,是位有名的鲁特琴演奏家,在很多早期音乐的唱片里都有他的演奏;和他合作过的早期/巴洛克音乐家们都是这个行业内最受追捧的人物。

早期音乐(Early Music)这个概念涵盖了西方历史中从中世纪到文艺复兴时期的音乐们。在17世纪之前,西方音乐的表演有一套和现在看起来很不同的记谱方式。这个时期的记谱不同于现在所流行的prescriptive(规范式)记谱法。Prescriptive记谱中,人们强调的是乐谱的绝对权威性--人们将一种表演的规范性用视觉符号来表示出来。当然,早期音乐的记谱也肯定不是descriptive(再现式)的方式,因为,prescriptive-decriptive的二元关系基本上是纸本时代的思维产物。那个年代的音乐表演和纸本记谱的关系,很大程度上保持了开放性,留给了音乐师去阐释音乐的空间。

打个比方,在一切宗教经书中,“上帝的话”总是具有一定的模糊性的,这种模糊性使得人们能在后来不断创造生活语言去解释自己的存在;在宪法中,人们也总是将一些基本的原则用不太限定性的语言来表达,然后再用针对具体事物的限定性语言来书写具体的法律。在早期音乐的体系中,道理也是一样的。正是由于这个时期,古典音乐的(确切的说,是西方古典音乐的)基本形式架构的形成,导致了后来更具体的音乐语言、音乐风格的形成。

早期音乐和后来西方音乐发展的关系,来就不是简单-复杂,低级-高级的关系,而是一种互为文本、互相解释的关系。而且,这种音乐时期上的划分,本身就是一种语言-知识产物,如果我们(在现代表演语境中)并不存在一种进化观念的话语的话,这种进化关系从何而来?

的确是这样的,现代早期音乐的表演,也和任何音乐类别(歌剧、室内乐、等等)一样,有一套固定的风格认同、听众群体、教学和表演制度、市场定位、成型的录音审美基础,等等。因此,现代人听早期音乐,也是用文化的心态去接受这种历史上看起来遥远的音乐。

能想像到:一个音乐教授的人生就是这样,在人生的一个个阶段里去思考一部作品,去发掘很多人们还未尝试过的演奏方式。这也就是音乐表演的魅力,它带给我们的不仅仅是死板的纸本历史,而是智慧去思考历史的结果。这时候,人们需要的不是乐匠,而是一个具有历史智慧的音乐家。

===============

    Naxos has collected its four volume traversal of the lute music into a handy slipcase. All the volumes are available singly, but you can also buy the four together as a quartet of excellence, presided over by Nigel North, the acknowledged hero of the hour. What follows is a reprise of two volumes already reviewed - volumes 1 and 3 - and a look at volumes 2 and 4.

    Nigel North and Naxos here embark on the first volume of a complete (four CD) set of the complete Dowland lute works. We have had individual contributions from Bream but more recently the Consort of Musicke and, notably, Paul O'Dette have made significant contributions to the contemporary discography. It would not be quite true to say however that we are spoiled for choice, especially at budget price. And that's where North comes in. Many years ago he recorded some lute solos with the Deller Consort - what North would doubtless refer to as his Ancient History period - but of more substantial impact was his 1980 LP traversal of the complete solo works, a 5 LP box set with colleagues Bailes, Lindberg, Rooley and Wilson on Decca L'Oiseau - Lyre DSLO D187D5, a set I never heard and which has never been transferred to CD.

    Here for Naxos he plays two lutes, an eight and a nine course, both crafted by the Bristol-based maker Paul Thomson in the 1990s, one at A440, the other A392 - Paul O’Dette also plays a Thomson eight course by the way. With them North presents, fortunately for us in the first volume, all seven Fantasies and a bewitching array of Jigs and dances. Therefore he programmes a recital with the spine of the Fantasies, around which lighter material can prosper and flourish.

    In the Marches and Jigs his articulation proves crisp and deft, colouristic and winning. He doesn’t over-press rhythms, as one can determine in Mrs. White's Thing which is taken at a tempo that allows for freedom of expression and clarity of articulation at all times. A Dream is a stately Pavane, with a noble tread and rather an extensive setting; interest is maintained throughout by virtue of colour and phrasal ingenuity. Of course there are light-hearted settings of which Mrs. Winter's Jump is a notable example and Mrs.Vaux’s Jig proves equally sprightly and is projected with alacrity.

    He holds back at the Canzona start of the First Fantasie, gradually increasing contrapuntal tension and subtly increasing the tempo - and in the Fifth he manages to convey flexibility and also, importantly, a spirit of improvisatory freedom. The Second Fantasie, maybe the most famous piece in this first disc, conveys its full measure of melancholy whilst North reserves an increase in vibrato usage for the Fourth, based on the cantus firmus Gloria tibi Trinitas.

    Pausing briefly to compare North with Paul O’Dette one finds that the former prefers a more relaxed tempo and a less intense sense of expression. Mrs Winter’s Jump is very differently characterised by both men though the divergences are, if anything, even wider in Mrs White’s Thing. They offer complementary views of Dowland, the one teeming with incision, rhythmic alacrity and drama, but also with no little reflective power, the other, as represented by North, rather more reserved and stately, with an interior introspection that emerges even in some of the more extrovert passages. Farewell (Fantasie No.3) focuses their different emotive and rhythmic responses in an expansive setting which is fully a minute quicker in O’Dette’s hands. The recording in St John Chrysostom Church, Newmarket, Ontario is quite spacious but doesn’t at all dull the sound. It’s very pleasurable listening. An auspicious start.

    Dowland’s Tears announces volume 2 and we can be sure that this will include some of his very greatest utterances. So it’s no surprise that we start with Lachrimae Pavan, in which the sustenance of legato is a minor miracle of expression of the melodic line. What one notices throughout the set as a whole, not simply this volume, is the clarity of North’s articulation. This emerges however with warmth and colouristic voicings - try The Earl of Essex, his Galliard as a specific example of a general quality. North has actually arranged one song - Dowland’s Tears (I saw my lady weep), the very title that gives its name to the volume. Here he locates the gravity and solemnity at its heart, in quite ravishing ways.

    Langton’s Galliard is fluid, fluent and uplifting. It’s also rhythmically buoyant, with North ensuring that the upper voicings are subtly inflected. Dowland’s Adieu is plangent and expressive and suitably doleful. Mignarda (Henry Noel’s Galliard) is once again beautifully voiced, and spun like silk,
    Volume three of Nigel North’s Dowland lute series spins a delightful surprise. The three principal Elizabethan dances - Pavan, Galliard and Almain - are here arranged in suites. Whilst his 1604 Lachrimae contained all three dances this collection was written for viol consort and lute, not solo lute. Once again North is armed with his nine course 2005 lute, tuned to a’= 400. And, as before in this series, he proves a wonderfully astute and perceptive guide to the repertoire.

    Beyond simply questions of shifting and digital command - these are prerequisites that needn’t concern us as North is so accomplished a player - lies the sheer tonal warmth of his playing. Solus cum sola may have the very occasionally audible squeak but it’s almost an invariable corollary and is greatly outweighted by the sheer burnished roundness of his tone in a reading that explores its melancholic introspection. Then too we find North enjoying, and making us enjoy, the sprighty and engaging dialogue of Sir John Smith, his Almain. It happens to be an ingenious variation - in effect - but it takes someone such as North to explore its fecundity and fluency of invention.

    North has included some especially stately Pavanes here, none more so than The Lady Russell’s Pavan, P. 17, which forms the opening of the second “suite” he has so cannily constructed. To close the suite we have the songful vibrancy of the brief The Lady Laiton's Almain. Additionally we find that North’s editorial work has borne fruit. He has edited Pavana Doulant to sit more comfortably in Dowland’s style by omitting divisions that seem to him to be by the German Johannes Mylius and by “prudently editing the three basic sections.” The result certainly sounds utterly authentic. The Almain P.51 is another problematic piece, which North speculates may be an arrangement of a consort piece - though not necessarily even by Dowland since it sits awkwardly. Some tweaking in respect of tonality ensures that we can hear it in better light.

    The martial rhythms of The Battle Galliard resound splendidly and unprobelematically - one pleasure of this recital is to hear the full range of sonorities North can evoke, as in the resounding lower strings of the previously cited Almain. Pavana Johan Douland is the single longest piece - eloquent indeed in this performance, indeed rivetting in its concentration and control.

    The high standards set in this series continue into the final volume. The dextrous elasticity of North’s fingering is a given, I suppose, by now but there’s no harm in reminding oneself as to its assurance. I would suggest The Queen’s Galliard itself - the title track, as it were - as a central exemplar. North acutely judges the temperature of each piece, measures its formality or gallantry, and gives us, for example, Dowland’s First Galliard in which the warmth of the gallantry hardly needs underlining. The Frog Galliard will be better known perhaps as one of the loveliest of the First Booke of Songs - Now, oh now I needs must part - and this final disc, which celebrates the Songs and Dances of Dowland’s music, certainly ensures that the tonal beauties of North’s playing afford the song a worthy champion in our age. All eight of the Broadside Ballad settings are here and they’re often examples of Dowland’s complex working through of them - extended and wrought, and not at all trivialised; on the contrary they seem to have inspired to acute compositional flights.

    North contributes two of his own versions of certain pieces - Come again, sweet love and Awake, sweet love. He employs extended divisions in both, extrapolating outwards, whereas the originals were simpler and sparer. By now you will have wearied of superlatives but I must not neglect to mention the upper and lower string dialogue in Go from my window, or the effortlessly lyrical exploration of Can she excuse? which is again from the Booke of Songs.

    In terms of production values, recorded sound and most particularly the performances themselves, taken in their totality, this is the most outstanding collection of Dowland’s lute music before the public today. – Jonathan Wool


Track List:

John Dowland (1563-1626)

CD 1:

[1] Lord Strange's March
[2] Mrs. White's Thing
[3] Mrs. White's Nothing
[4] 'Tremolo' Fancy (P73)
[5] Mrs. Nichols' Almain
[6] A Fantasie (Fantasie No. 1)
[7] Preludium
[8] A Fancy (Fantasie No. 5)
[9] A Dream
[10] A Fancy (Fantasie No. 7)
[11] Mrs. Winter's Jump
[12] Lady Clifton's Spirit
[13] Mrs. Vaux's Galliard
[14] Mrs. Vaux's Jig
[15] Tarleton's Riserrectione
[16] A Fancy (Fantasie No. 6)
[17] Forlorn Hope Fancy (Fantasie No. 2)
[18] The Shoemaker's Wife (A Toy)
[19] Lady Hunsdon's Puffe
[20] Orlando Sleepeth
[21] Mr. Dowland's Midnight
[22] Farewell 'In Nomine' (Fantasie No. 4)
[23] Farewell (Fantasie No. 1)

Total Playing Time: 01:04:39


CD 2:

[1] Lachrimae Pavan
[2] Galliard to Lachrimae
[3] Pavan (P16)
[4] The Earl of Essex, his Galliard
[5] Pavan (P18)
[6] M. Giles Hobie's Galliard
[7] Dowland's Tears (I saw my lady weep, arr. North)
[8] Sir Henry Umpton's Funeral
[9] Sir John Langton's Pavan
[10] Langton's Galliard
[11] Piper's Pavan
[12] Captain Digorie Piper's Galliard
[13] Dowland's Adieu
[14] Galliard (P30)
[15] Mignarda (Henry Noel's Galliard)
[16] Lachrimae (alternative version)
[17] Semper Dowland Semper Dolens

Total Playing Time: 01:06:03


CD 3:

[1] Pavan ''Solus cum sola''
[2] Melancholy Galliard
[3] Sir John Smith, his Almain
[4] The Lady Russell's Pavan
[5] Lady Rich, her Galliard
[6] The Lady Laiton's Almain
[7] Pavan ''Solus sine sola''
[8] Mr Knight's Galliard
[9] Mrs Clifton's Almain
[10] Dr Case's Pavan
[11] Sir Robert Sidney, his Galliard
[12] Sir Henry Guilforde, his Almain
[13] ''Pavana Doulant'' (pub. Mylius, Frankfurt 1622)
[14] The Earl of Derby, his Galliard
[15] Almain (P.51)
[16] Pavan ''La mia Barbara''
[17] The Battle Galliard
[18] Almain (P.49)
[19] ''Pavana Johan Douland'' (Schele ms.)
[20] Galliard on a Galliard of Bachelar
[21] Almain (Margaret Board Lute ms.)

Total Playing Time: 01:06:21


CD 4:

[1] Queen Elizabeth, her Galliard
[2] The Queen's Gaillard (P.97)
[3] Dowland's First Galliard
[4] John Dowland's Galliard (P.21)
[5] Complaint (P.60)
[6] The Frog Galliard
[7] Aloe
[8] Galliard on Walsingham
[9] Walsingham
[10] Coranto
[11] Galliard (P.27)
[12] Come again, sweet love (P.60) (new version by Nigel North)
[13] Sir John Souch's Galliard
[14] Go from my window
[15] Galliard: Awake sweet love (P.24)
[16] Galliard: Awake sweet love (new version by Nigel North)
[17] What if a day
[18] Galliard (P.35)
[19] Lord Willoughby's welcome home
[20] Galliard: Can she excuse
[21] Robin
[22] Fortune my foe
[23] Loth to depart
[24] Galliard (P.20)
[25] The King of Denmark's Galliard

Total Playing Time: 01:00:18

All TT: 04:17:20


Performers:
Nigel North, lute
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参与人数 1音符 +20 炫币 +20 收起 理由
kamusyy + 20 + 20

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发表于 2017-12-22 22:16:06 | 显示全部楼层
谢谢楼主分享
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发表于 2017-12-23 00:27:36 | 显示全部楼层
这么多鲁特琴作品,真好。感谢分享!
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发表于 2017-12-23 15:47:23 | 显示全部楼层
古老而罕见,冷门中的冷门
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发表于 2017-12-24 20:37:07 | 显示全部楼层
琉特琴,好听!
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发表于 2017-12-26 14:39:59 | 显示全部楼层
冷门的资源,谢谢分享。
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发表于 2017-12-26 22:39:28 | 显示全部楼层
感谢分享鲁特琴大全
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发表于 2017-12-28 16:42:05 | 显示全部楼层
难得听到这么丰富的鲁特琴音乐。谢谢分享!
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发表于 2017-12-28 20:31:41 | 显示全部楼层
太棒了这个,谢谢
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发表于 2017-12-31 09:17:35 | 显示全部楼层
单纯的早期音乐
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发表于 2017-12-31 09:59:12 | 显示全部楼层
非常喜欢,多谢分享!
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发表于 2017-12-31 10:34:55 | 显示全部楼层
谢谢楼主分享
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发表于 2017-12-31 16:44:38 | 显示全部楼层
下载收藏古老的鲁特琴音乐 辛苦了
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发表于 2017-12-31 19:36:10 | 显示全部楼层
谢谢分亨古老的音乐!
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发表于 2018-1-1 05:37:32 | 显示全部楼层
鲁特琴曲大集合,谢谢了
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