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京东 11.11 红包
西贝柳斯《佩利亚斯与梅丽桑德》组曲 Op.46 Pelléas et Mélisande Suite
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https://youtu.be/I06-fQMxxeo Written in 1905 Danish National Symphony Orchestra, Leif Segerstam 00:00 - I. At the Castle Gate 03:59 - II. Melisande 08:51 - III. At the Seashore 11:47 - IV. Spring in the Park 13:59 - V. The three blind Sisters 16:32 - VI. Pastorale 18:40 - VII. Mélisande at the Spinning-Wheel 20:46 - VIII. Entr'acte 23:43 - IX. The Death of Mélisande 1. Sibelius begins "At the Castle Gate" (where "the sun rises over the sea"), an extraordinarily sonorous tone picture considering that the small orchestra has only two French horns and no other brass. 2. A sad-eyed portrait follows of "Mélisande," the drama's amnesiac heroine found wandering in the forest by Pelléas' dour brother Golaud, who brings her to their father Arkel's castle. Like the Swan of Tuonela a decade earlier, she is characterized by an English horn. 3. "At the Seashore" is only 22 bars long, yet wells up scarily near the close (this was usually omitted by conductors ranging from Sir Thomas Beecham to Herbert von Karajan until the end of the twentieth century, when a young generation of Finns redressed the imbalance). 4. "By a Spring in the Park" is a sunlit waltz for the protagonists before they fall fatefully in love. 5. In the theater, Sibelius wrote "The Three Blind Sisters" as a strophic song ("Thus they go up in the tower," where one of them hears a candle guttering), but assigned the melody to an English horn in the suite. 6. In "Pastoral," two clarinets playing in thirds echo Golaud's words, "What a marvelous day! What admirable weather!" 7. "Mélisande at her Spinning-Wheel," next up, is a far cry from Fauré's pretty music -- -ominous, metrically irregular music for oboe, clarinets, and agitated strings. 8. A brief "Entr'acte" (it introduced the play's fourth act) is a dappled miniature despite the descent into A minor midway. This serves to heighten the poignance of No. 9, "Melisande's Death," a six-minute elegy that fades to nothingness at the end.
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