During the Bolshevik Revolution, members of aristocratic families were forbidden to study in conservatories. Mravinsky's other aunt, ALEXSANDRA KOLLONTAI, is the welfare minister of the revolutionary government. She recommended her nephew to alexander glazunov so that Mravinsky could "enter" the Conservatory of Music. He studied under Nikolai Marco and Alexander Gok. Gao Ke trained a whole generation of conductors, and his teacher was Arthur Niekisch. Mravinsky's career as a music conductor began with the Malinschi Opera House, which was later renamed the Grand Theatre of the National Academy of Opera and Dance Drama. 193 1 After graduating from the Conservatory of Music in the summer of, he cooperated with Leningrad Philharmonic Orchestra for the first time. After 1934, he often served as a guest conductor in the orchestra. At the opening ceremony of 1937 and 1938 music seasons, he was entrusted with the important task of conducting; At the end of the music season, at the peak of Stalin's counter-revolutionary movement, he premiered Shostakovich's Fifth Symphony. The significance of this concert is extraordinary. For the audience, Shostakovich's Fifth Symphony describes their lives, their experiences and their inner fears. As Shostakovich was accused by the front page of the newspaper at that time, performing his music seemed to be asking Mravinsky to rehabilitate it and make it reborn. Its success depends on how Mravinsky conducts it. The performance was very successful and the audience was very excited. When the track reached the wide board, both men and women burst into tears. At the end of the song, the audience couldn't sit still any longer. They stood up and finished the last note of the song with the beat of Mravinsky's baton waving overhead and stormy applause.
We should thank him for touring and recording in the mid-1950s. Until then, Mravinsky was not known to the west (although he only visited Britain and the United States once). His demand for the band tour is simple: "It should be better to perform outside than at home." Many of his recordings are mostly live recordings of touring performances; Bartok is in Budapest, Brahms and Beethoven are in Berlin, Mozart and brukner are in Vienna. However, Tchaikovsky's symphony played during his visit to 1956 is regarded as his best interpretation. Peter hayworth said in the Observer: "His interpretation has extraordinary strength and passion ... an amazing grandeur that cannot be found in western interpretation." The Vienna Daily reported: "Leningrad Philharmonic Orchestra is the highest level orchestra ... Yevtni Mravinsky is the great conductor and mentor of this orchestra." It was in this atmosphere that the German phonograph recorded Tchaikovsky's symphony for Mravinsky. Mravinsky is unparalleled. Other recordings seem to lack sadness, strength, emotional scale and convincing talent. Most of the existing recordings in Mravinsky are live recordings. His performance of Mozart, Beethoven, Brahms or sibelius made us have a clearer understanding of his good intentions in music creation. The listener seems to feel that he is in the whole creative process, as if enjoying an unprecedented music. Of course, from 1938 to 196 1 year, Mravinsky also recorded in the studio, but he always thought it sacred to perform for the live audience. Music from the studio became an unwelcome barrier between the audience and the band.
How was his concert? Rogers Twensky recalled watching Mravinsky's ecstatic poems after the Battle of scriabin, and said, "When the emotional brewing drew to a close, I couldn't help standing up. In this brilliant and shocking climax, an indescribable joy came to me. "
Elabalucheva, a teacher who listened to music in Mravinsky Live Music School, recalled listening to Tchaikovsky's Nutcracker Suite conducted by Mravinsky in Leningrad, saying, "This is simply a brand-new repertoire! The effect is too shocking! "
Regarding brukner's Ninth Symphony, she said, "This great adagio made the audience around me burst into tears." Every performance has a different interpretation. Maris Zhan Sen, a student in Mravinsky, once described it like this: "I have heard the Fifth Symphony, and there are three completely different interpretations." (Note: Works of Shostakovich)
There are not many recordings of Mravinsky's concerto. The two most common concertos are Pyotr Il'yich Tchaikovsky's Piano Concerto No.1 and Shostakovich's Violin Concerto No.1 ... Mravinsky left three recordings of Pyotr Il'yich Tchaikovsky's Piano Concerto No.1, namely Selebryakov (53. 1.6), richter (59.7.24) and Giles (7 1.3.30). One of the most well-known is the recording of cooperation with richter. This record has been released many times (more than 80 copies have been released so far), and it is the most released record in Mravinsky. Mravinsky is the premiere conductor of Shostakovich's Violin Concerto No.1 (in cooperation with oistrakh), and his interpretation of this work has natural authority. At present, it is known that there are two recordings of Shostakovich's violin concerto No.1 in Mravinsky, both in cooperation with oistrakh. One was recorded at 56. 1 1.30, and the band was Leningrad Philharmonic Orchestra. This recording effect is relatively poor. A better choice is the recording in Prague in May' 57. The band is Czech Philharmonic Orchestra. Praga PR 2560 12 recorded this recording. Mravinsky has a close relationship with Shostakovich. After the success of the Fifth Symphony, the premiere of the Sixth Symphony and other symphonies was given to Mravinsky. Although Mravinsky didn't conduct Shostakovich's Symphony No.7, No.11 and No.15 in the premiere, Shostakovich said that those tracks conducted by Mravinsky were "real" premieres. Their friendship enabled Mravinsky to deeply explore the composer's psychological process of creation. Mravinsky is one of the most tragic symphonies in this century, rather than interpreting the composer's works.
Mravinsky worships Shostakovich. He thinks Shostakovich's works are the most important part of his career. Later, according to the information, it was found that Mravinsky's wife was terminally ill and would soon die. Mravinsky did not tour for three years, and refused the premiere of Shostakovich's 13th symphony. Mravinsky's command style is somewhat similar to that of Fritz Lai Na or george szell, with no affectation, attention to detail and little action. Because of the flexibility of strength and the balance of voice, his command is different. Sometimes it is directly harsh, and it is very convincing because of the philosophical clues in music.
Mravinsky is regarded as a crazy rehearser, who rehearses even familiar songs eight to ten times. Sometimes, he spent a whole year studying a piece of music, and finally he gave up acting. In September1960-September165438+1October, Mravinsky, who was visiting Western Europe, recorded the last three symphonies of Lao Chai for DG Company in Wembley Town, London, thus turning a glorious page in the history of records.
This double CD album contains Tchaikovsky's fourth, fifth and sixth symphonies, conducted by Russian conductor Mravinsky and conducted by Leningrad Philharmonic Orchestra. This version is recognized as an authentic Russian interpretation, attracting countless people.
In the CD era, three works were made into two sets of regular-priced films, which became DG's treasure. The cover is green, and the faint Mu side image is as solemn and quiet as the relief. One thing is certain, this album has set the highest sound effect of Mu's recording, which is not even comparable to his records in erato in the 1980s. The Leningrad Philharmonic in the 1960s is undoubtedly the pinnacle. Cold war weapons rely on the opponent's technology to achieve perfect replication, which has far-reaching influence.
If you listen to this record in one breath, you may agree that it is a rather grand symphony with harsh brass music above the band. The shape of the belt is not rising, but spreading horizontally. The timbre is broad and soft, close to human voice, and the speed, strength and rhythm change surprisingly freely and rapidly.
That kind of highly unified performance naturally reminds people of Lao Chai's last three symphonies, with the theme of presenting the contradictions in his inner world, which is a triple superposition of heterogeneous spiritual projections. The violent fate in the fourth lane has been successfully transferred, while the fate in the fifth lane is relatively gloomy and hopeless, with a strong flavor of self-liberation. The sixth is the third extremely exaggerated work, and the earth-shattering struggle has become the leading symbol of this work. The whole trilogy constitutes the disillusionment path of a neurotic idealist, but its amazing strength and urgency make disillusionment so close to sublimity, pain so close to glory, and farewell so close to rebirth, which is a miracle.
Interestingly, when I am no longer addicted to the crazy advance of the last movement of the fourth movement and shocked by the noise of the second half of the sixth movement, what I can't forget is the soft parts of this recording, such as the oboe singing of the fourth movement, the horn book of the fifth movement, the string performance of the fifth waltz movement and the weak expression of the second theme of the sixth movement, which seem to dissipate and diffuse in the air and slowly drift into my heart. Carl-Hunts Schneider, DG's sound engineer, captured the most subtle warmth expression of Mu's army. Since then, such high-quality technical support has never appeared around Mu.
1955 During Mravinsky's visit to Vienna, a set of old Chai Housan was recorded in DG, among which Chai Housan was written by his assistant Sandelin. Compared with Green Chai Siji, Sandelin's interpretation is mild and leaves room, while Mu's 60th edition of Chai Siji emphasizes the sharpness and tension of music, and the musical image is closer to an frozen winter god who laughs proudly at Wan Li. There is no obvious difference in structure between Mu's 55-year-old Chai Wu and Liu and his 60-year-old version. The sound effect is not as good as before, and the perfection of music presentation is also slightly discounted.
1995 released this set of big lotus suits, which at least shows that once Mu has formed his own views on a work, his interpretation is basically fixed, and he pursues a kind of Excellence in the same direction.
In a word, this recording is a model of Tchaikovsky's symphony, and I believe it will not change in another hundred years.
E Up to now, there are only five records on the four authoritative lists of Japanese Studies 100, Japanese Famous Songs 300, Penguin Samsung Flower and Top 100 Record Players, and this one is one of them; At the same time, this album also won the Edison Record Award of 1988 and the Penguin Rose Award of 1990. Mozart: Don Juan Overture, brukner: Symphony No.7 (version 1833, adapted by Mravinsky), Haydn: Symphony No.88, Tchaikovsky: Fran Cesca da Rimini, Glazunov: Symphony No.5.
Performance: Leningrad Philharmonic Orchestra
Commander: Mravinsky.
Recording: Leningrad Philharmonic Orchestra Concert Hall
Recording time:1968165438+1October 29th (Mozart); 1February 25th, 967 (brukner); 1968165438+1October 29th (Haydn); 1March 983 19 (Tchaikovsky); 128 September 968 (Glazunov)
RecordNo.: 20th Century Great Conductor Series, One Hundred Classics /IMG Artist 5 75953-2.
Mravinsky is an extraordinary man. He served as the chief conductor of Leningrad Philharmonic Orchestra from 1938 to 1988, and his full 50 years of experience enabled him to cultivate this orchestra into one of the most famous orchestras. His knowledge and special relationship with Shostakovich became part of the legend, and he premiered no less than six symphonies of this composer. However, there are no works by Shostakovich in this album, and some fascinating works by other composers are selected, including Haydn, brukner and Glazunov. The interpretation at the beginning of Don Juan's overture is typical of Mravinsky's style: it pays great attention to details (portrayed with real and touching strings), and at the same time it is full of dramatic effects to lead to the following plot.
Mozart's works were recorded in1968165438+10-and in February last year, Mravinsky and his orchestra played brukner's Symphony No.7 (both works were released in 1995, and the record number was RDCD/kloc. In many ways, the seventh symphony is excellent. The speed of the first movement is natural, and the music is beautiful and reasonable. It's really nice to hear the real Russian oboe and trumpet. The contrast between light and shade of music is strong, and Mravinsky's control of his musical instrument (Leningrad Philharmonic Orchestra) is excellent. Listening to the growing expressive force of music, every note comes from the heart and is full of true expression for the whole work. It is true that there is no feeling that the sun shines through the clouds in the first movement, and there are also some problems in orchestra and timbre (especially flute), but there is no denying the shocking power of music and the free and full expression of deep feelings in Adagio movement. The expression of paragraphs is very keen (especially from the string part), but unfortunately, the speed of the whole movement becomes faster with the increase of intensity, and the performance of the climax part is not very ideal.
Since the scherzo was marked as "soon", Mravinsky adopted a faster playing speed, and the trio was a little too addicted. The unique style that appeared in the first movement is in the last movement, however, it is more outstanding here, with more elegant and powerful string performance and brass instruments. The speed of music did not pay attention to brukner's "exciting, but not too fast", but: very fast. The end of the music is very wonderful. I really don't know why the applause can't be a little louder. Mravinsky can't be expected to command Haydn's works with academic style, which is exactly the case. Allegro is serious and accurate, Adagio is slow, and the polyphonic oboe is excellent. The minuet here has no dance style and is very powerful, while the trio is lively and light. I think Mravinsky tried to adopt a happy mood in the last movement, but it was difficult to express it!
Tchaikovsky's Fran Cesca da Rimini became a masterpiece under the command of Mravinsky. Music begins with great strength, followed by a stormy world with huge gray shadows. This is also the best part of this album, which proves that these two records are worth it. Under the command of Mravinsky (who is famous for conducting Tchaikovsky's works), the music is not lengthy, and it gradually marches to a high level, which is impeccable.
Glazunov's Fifth Symphony is a delightful work. Mravinsky interprets his works in his own way, and his performance is full of surprises. When planning these two records, EMI may finally take the risk to choose this work, but it is very worthwhile. Mravinsky convincingly expressed Glazunov's conservative romanticism. The scherzo of the second movement is full of energy, and Mravinsky's expression is full of emotion. Glazunov's humor and ballet style are beyond doubt. Mravinsky emphasized some bass in the andante, so the style of the movement was similar to Wagner's (5 minutes and 30 seconds), but the music suddenly turned, and then the restored Russian dance music dismissed this idea. The joyful and wonderful final movement drew a perfect ending for this album full of wonderful interpretations about conductor. 1995/ 1996, BMG Records Company remade the CD box (CD1-kloc-0/0 74321-25189-2, CD 65438).
The first episode of Brahms' Second Symphony and Schubert's Eighth Symphony
The second episode is Mozart's 38th symphony and sibelius's 7th symphony.
Shostakovich's 15th Symphony, Episode 3
The fourth episode of brukner's ninth symphony
Prokofiev's Romeo and Juliet, episode 5, suite 2
The sixth episode is hindemith's Symphony of World Harmony and Oneig's Symphony No.3 (Worship).
Episode 7 Beethoven's Fourth Symphony and Pyotr Il'yich Tchaikovsky's Fifth Symphony.
The eighth episode is Bartok's string, percussion and piano music, Stravinsky's Apollo.
Episode 9 Symphony 6 and Symphony 10 by Shostakovich
The tenth episode Wagner's Opera Prelude and Prelude Collection
Collection 1 1 Beethoven's fifth and seventh symphonies
Episode 12 Brahms Symphony No.3 and No.4
Episode 13 brukner's Symphony No.8
Episode 14 Richard Strauss's Alpine Symphony
Episode 15: Symphony No.21 by Ovyaniko Kulikovski and Symphony No.5 by Shostakovich.
Episode 16 Shostakovich's Symphony No.7
Episode 17 Shostakovich's Symphony No.8
Episode 18: Symphony No.4 by Glazunov and Symphony No.4 by Pyotr Il'yich Tchaikovsky.
Episode 19: The Hidden Story of kitchener City by Linsky Kosakov and Symphony No.6 by Pyotr Il'yich Tchaikovsky.
Episode 20 Pyotr Il'yich Tchaikovsky's Italian Capriccio