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史麥塔納:馬克白與女巫.音樂小品及即興曲/李斯特:第12號超技練習曲(追雪)等鋼琴作品集
米羅斯拉夫·塞克拉 鋼琴
“我要證明史麥塔納是一位和李斯特一樣成功的作曲家而且他的作品應該在世界各地的主要音樂廳被演奏". 鋼琴家米羅斯拉夫·塞克拉懷著這種信念投入製作這張專輯. 他是一位非凡的獨奏家, 也是廣受歡迎的室內音樂家(固定的和小提琴家約瑟夫‧史帕契克, 法國號音樂家巴伯羅柯等人合奏). 將史麥塔納和李斯特作品放在同一張是合乎邏輯的 – 兩人都是高超的鋼琴家, 鋼琴在他們的生活與藝術發展扮演重要的角色, 尤其是在他們職業生涯的前數十年. 李斯特是史麥塔納偉大的模範, 在這位捷克作曲家的日記有一段註記所顯示:”在上帝的恩典與幫助, 有一天我會有像李斯特一樣的技巧和莫札特一樣的作曲能力". 李斯特與史麥塔納之間的信件與數次相遇促成了一份友誼. 但是當李斯特的鋼琴作品備受關注時, 史麥塔納的鋼琴音樂仍未被廣為人知與認可.
專輯中第一組他的特色作品是即興曲與小品曲目(Bagatelles et Impromptus, 1844)是在他二十歲時寫的, 可讓人明顯的感受到他的特點. 他待在瑞典哥德堡(Gothenburg)的那五年與李斯特的交談提升了他對標題音樂(programme music)的著迷. 他的這種傾向反映在那個時期寫的幾件大師級鋼琴作品中, 包含(馬克白)鋼琴詩篇和(濱海回憶)練習曲, 塞克拉的演奏顯露出史麥塔納全部的天分與奇異之處, 這點我們在他的交響詩篇中就可知道, 但一直到現在才在他的鋼琴作品中也可發現到.
Recorded in Prague at the Martinu Hall, Academy of Performing Arts, 27 and 28 December 2019.
"I would like to prove that Bedrich Smetana was a composer comparable with Franz Liszt and that his
music deserves to be performed at major concert venues worldwide." Armed with this belief, the pianist
Miroslav Sekera plunged into making the present album. He is an extraordinary soloist, as well as an
experienced and sought-after chamber musician (regularly performing with the violinist Josef Spacek,
the hornist Radek Baborak, and others). Putting together Smetana and Liszt is in a sense logical – both
of them were superb pianists, with the piano having played a significant role in their lives and artistic
developments, particularly in the first decades of their careers. Liszt was a great model for Smetana, as
documented by a note in the Czech composer's diary: "With God's grace and help, one day I will be like
Liszt in technique and like Mozart in composition." The correspondence and several personal
encounters between Liszt and Smetana ultimately led to a friendship. Yet whereas Liszt's piano works
have enjoyed great attention, Smetana's piano music is yet to become widely known and
acknowledged. The very first cycle of characteristic pieces, Bagatelles et Impromptus (1844), written
by Smetana at the age of 20, featured traits that would be palpable throughout his piano oeuvre. His
five-year stay in Gothenburg and conversations with Liszt enhanced Smetana's penchant for
programme music. This inclination of his reflected in several virtuoso piano works dating from that
time, including the piano poem Macbeth and the etude On the Seashore. Sekera's performance reveals
to the full Smetana's genius and singularity, which we know from his symphonic poems, but are only
now discovering in his piano music.
Discovering Smetana's piano music through Liszt ...
FRANZ LISZT (1811–1886)
1. Transcendental Etude No. 12 "Chasse-neige", S 139.12 6:12
2. Richard Wagner . Franz Liszt
Isoldens Liebestod from the opera Tristan und Isolde, S 447 7:57
3. Giuseppe Verdi . Franz Liszt
Paraphrase de concert sur Rigoletto, S 434 7:35
4. Wolfgang Amadeus Mozart . Franz Liszt
Lacrimosa from Requiem in D minor, S 550.2 4:08
BEDRICH SMETANA (1824-1884)
5. Freundliche Landschaft from Sketches, Op. 5 2:05
6. On the Seashore. Concert Etude in G sharp minor, Op. 17 6:08
Bagatelles et Impromptus 13:23
7. I. L´innocence . Innocence 1:43
8. II. L´abattement . Dejection 1:01
9. III. Idylle . Idyll 1:07
10. IV. Le désir . Longing 2:15
11. V. La joie . Joy 0:47
12. VI. Le conte . Fairy Tale 2:35
13. VII. L´amour . Love 2:13
14. VIII. La discorde . Quarrel 1:38
15. Macbeth and the Witches 10:02 |
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