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作曲家: J.S. Bach
指揮家: Robin O'Neill
樂團: Philharmonia Orchestra
巴哈的音樂一直吸引編曲者和管絃樂配器者, 例如: 史托科夫斯基, 艾爾加和布梭尼是其中三位. 無論原始版本的表現如何, 巴哈的音樂有一種富有表現力, 戲劇性和架構邏輯讓它們很適合擴展到管弦樂雄厚的聲音.
在新冠疫情封鎖的前幾個月期間, 巴松管演奏家兼指揮羅賓.歐尼爾發現並埋首於聆聽顧爾德的郭德堡變奏曲錄音專輯. 不久之後, 當他開始聽到在此鍵盤作品中的樂器和管絃樂渾厚的聲音時, 製作一個給管弦樂團版本的想法就一直讓他為之著迷. 因為主要的挑戰是將此音樂改頭換面又不會損壞這隱約微妙又錯綜複雜的作品, 在經過深思熟慮與實驗之後, 歐尼爾選擇巴哈也會認同的樂器給獨奏部份. 他對郭德堡變奏曲的重新詮釋提供一個綜合整個管絃樂變奏與穿插二, 三或四個獨奏樂器的協奏曲部份, 有時近似於聖馬太受難曲的編寫風格.
這份改編曲是在一個艱困時期中完成, 用歐尼爾的話來形容, 希望這能表達出巴哈的音樂帶給演奏者和聽眾們快樂與安慰.
J.S. Bach – Goldberg Variations
The Goldberg Variations in new clothing
Bach's music has always attracted arrangers and orchestrators – such as Stokowski, Elgar and Busoni, to name just three. Regardless of its original version, Bach's music has an expressive power, drama and architectural logic that lend themselves well to expanded orchestral sonorities.
Bassoonist and conductor Robin O'Neill buried his head in the Goldberg Variations, which he had discovered through Glenn Gould's recordings, during the first months of the Covid lockdown. Soon after that, the idea of making an arrangement for orchestra began to obsess him as he began hearing instrumental and orchestral sonorities in the keyboard work. Since the main challenge was to reclothe the music without damaging the subtle intricacy of the piece, and after much thought and experimentation, O'Neill chose instruments that Bach himself would have recognized for the solo parts. His reinterpretation of the Goldberg Variations offers a mixture of full orchestral variations interspersed with concertante ones involving two, three or four solo instruments, at times close to St Matthew Passion-style writing.
Completed during a difficult period, this arrangement was made, in the words of O'Neill, in the hope that it expresses the joy and solace that Bach's music gives both performer and listener.
曲目:
BACH, Johann Sebastian (1685—1750)
arranged by Robin O'Neill
Goldberg Variations, BWV 988 (1741) (Manuscript) 73'14
Aria (full orchestra) 3'53
Variation 1 (full orchestra) 1'36
Variation 2 (flute, oboe, bassoon) 1'09
Variation 3. Canone all' Unisuono (2 violins, cello) 2'06
Variation 4 (oboe, cor anglais, 2 bassoons, double bass) 0'56
Variation 5 (flute, oboe, 2 bassoons, 2nd violins, violas) 1'39
Variation 6. Canone alla Seconda (full orchestra) 0'52
Variation 7. Al tempo di Giga (full orchestra) 1'52
Variation 8 (strings) 2'01
Variation 9. Canone alla Terza (flute, cor anglais, bassoon) 1'20
Variation 10. Fughetta (full orchestra) 1'21
Variation 11 (full orchestra) 2'15
Variation 12. Canone alla Quarta in moto contrario (solo violin, viola, cello) 2'11
Variation 13 (flute, strings) 5'24
Variation 14 (full orchestra) 2'25
Variation 15. Canone alla Quinta: Andante (flute, cor anglais, bassoon) 2'25
Variation 16. Ouverture (full orchestra) 2'44
Variation 17 (full orchestra) 2'01
Variation 18. Canone alla Sesta (full orchestra) 1'20
Variation 19 (2 violins, cello, oboe, cor anglais, bassoon) 1'06
Variation 20 (full orchestra) 2'29
Variation 21. Canone alla Settima (full orchestra) 2'22
Variation 22. Alla breve (full orchestra) 1'06
Variation 23 (full orchestra) 2'37
Variation 24. Canone all' Ottava (flute, strings) 2'26
Variation 25. Adagio (full orchestra) 8'41
Variation 26 (full orchestra) 1'59
Variation 27. Canone alla Nona (flute, cello) 2'07
Variation 28 (full orchestra) 2'23
Variation 29 (full orchestra) 2'16
Variation 30. Quodlibet (full orchestra) 1'54
Aria da Capo al Fine (full orchestra) 2'03 |
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