《柏辽兹《哈罗尔德在意大利，为管弦乐队和中提琴首席而作的4个部分交响曲》 /里德尔中提琴 ,舍尔兴指挥 ,伦敦爱乐乐团 》
类型专辑
年份1954
简介
Harold en Italie
Harold en Italie,Symphonie en quatre parties avec un alto principal(English:Harold in Italy,Symphony in Four Parts with Viola Obbligato),Op. 16, H. 68, asymphonywith soloviolabyHector Berlioz, written in 1834.
Creation
Niccolò Paganini(1782–1840) encouraged Berlioz (1803–1869) to writeHarold en Italie. The two first met after a concert of Berlioz's works conducted byNarcisse Girardon 22 December 1833, three years after the premiere of Berlioz'sSymphonie fantastique. According to Berlioz'Memoires, Paganini had acquired a "superbviola", aStradivarius(the so-called "Paganini-Mendelssohn"[1]) — "But I have no suitable music. Would you like to write a solo for viola? You are the only one I can trust for this task." (J'ai un alto merveilleux, me dit-il, un instrument admirable de Stradivarius, et je voudrais en jouer en public. Mais je n'ai pas de musique ad hoc. Voulez-vous écrire un solo d'alto? je n'ai confiance qu'en vous pour ce travail.)[2]
Berlioz began "by writing a solo for viola, but one which involved the orchestra in such a way as not to reduce the effectiveness of the orchestral contribution." When Paganini saw the sketch of the allegromovement, with all therestsin the viola part, he told Berlioz it would not do, and that he expected to be playing continuously.[3]They then parted, with Paganini disappointed.
Lord Byron's poemChilde Harold's Pilgrimageinspired the mood ofHarold. Berlioz wrote,
My intention was to write a series of orchestral scenes, in which the solo viola would be involved as a more or less active participant while retaining its own character. By placing it among the poetic memories formed from my wanderings in theAbruzzi, I wanted to make the viola a kind of melancholy dreamer in the manner of Byron's Childe-Harold. (je voulus faire de l'alto, en le plaçant au milieu des poétiques souvenirs que m'avaient laissés mes pérégrinations dans les Abruzzes, une sorte de rêveur mélancolique dans le genre du Child-Harold de Byron.)
That he had recycled some of the material from his discarded concert overture,Rob Roy, went unmentioned. Despite Berlioz' mention of Byron, music critics, such asDonald Toveyhave taken pains to point out thatHarold in Italyowes nearly nothing to the poem: "no definite elements of Byron's poem have penetrated the impregnable fortress of Berlioz's encyclopaedic inattention,...there is no trace in Berlioz's music of any of the famous passages ofChilde Harold."[4]