目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Ancient Airs & Dances, Suite I, P. 109: I. Balletto detto “Il conte Orlando” (Molinaro) | 00:03:08 |
| 2 | Ancient Airs & Dances, Suite I, P. 109: II. Gagliarda (V. Galileo) | 00:03:57 |
| 3 | Ancient Airs & Dances, Suite I, P. 109: III. Villanella (Anonymous) | 00:05:16 |
| 4 | Ancient Airs & Dances, Suite I, P. 109: IV. Passo mezzo e Mascherada (Anonymous) | 00:04:12 |
| 5 | Ancient Airs & Dances, Suite II, P. 138: I. Laura soave. Balletto con gagliarda, saltarello e canario (Carosio) | 00:04:09 |
| 6 | Ancient Airs & Dances, Suite II, P. 138: II. Danza rustica (Besard) | 00:04:14 |
| 7 | Ancient Airs & Dances, Suite II, P. 138: III. Campanae parisienses – Aria (Anon/Mersenne) | 00:05:13 |
| 8 | Ancient Airs & Dances, Suite II, P. 138: IV. Bergamasca (Gianoncelli) | 00:05:44 |
| 9 | Ancient Airs & Dances, Suite III, P. 172: I. Italiana (Anonymous) | 00:03:45 |
| 10 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. a. Andante cantabile | 00:01:59 |
| 11 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. b. Allegretto | 00:00:26 |
| 12 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. c. Vivace | 00:00:45 |
| 13 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. d. Lento con grande espressione | 00:01:28 |
| 14 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. e. Allegro vivace | 00:00:15 |
| 15 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. f. Vivacissimo | 00:00:42 |
| 16 | Ancient Airs & Dances, Suite III, P. 172: II. Arie di corte. g. Andante cantabile | 00:02:15 |
| 17 | Ancient Airs & Dances, Suite III, P. 172: III. Siciliana (Anonymous) | 00:03:07 |
| 18 | Ancient Airs & Dances, Suite III, P. 172: IV. Passacaglia (Roncalli) | 00:04:07 |
专辑简介
The Philharmonia Hungarica was a symphony orchestra, based in Marl, Germany, which existed from 1956 to 2001.It was first established in Baden bei Wien near Vienna by Hungarian musicians who had fled their homeland after it was invaded by Soviet troops.除，但在创作中，这些标题确实赋予了他灵感。六个乐章分为两部分：第一乐章为“引子，牧神潘苏醒”，以奇异而原始的打击乐表现万物复苏，色彩缤纷；第二至第六乐章则依次是“花儿告诉我”“森林动物告诉我”“人类告诉我”“天使告诉我”和“爱情告诉我”。
第二乐章如繁花摇曳的小步舞曲，第三乐章以木管模仿鸟鸣，描绘森林动物被唤醒的场景——其间邮号的旋律美得令人心醉。第四乐章借尼采《查拉图斯特拉》的“午夜之歌”，引入女低音独唱，将音乐带入哲学领域。第五乐章由童声与女声合唱“三位天使之歌”，未用弦乐，空灵感尤为突出。第六乐章为音乐史上最宏伟的柔板之一，弦乐层层推进，化作爱的赞美诗。
在马勒的最初计划里，第三交响曲还有一个第七乐章“孩子告诉我”。后来因为篇幅和结构的原因，马勒把根据德国民间诗集《少年魔法号角》中“天国里的生活”谱写的女高音独唱放到了第四交响曲的第四乐章。
——特约撰稿：刘雪枫
