听老念念叨了好久Rautavaara，今天终于入得第一枚录音，还来不及听。先开个帖子，请老念、alma等Rautavaara专家进来聊聊。

Biography by All Music Guide  

Einojuhani Rautavaara is the best-known composer in contemporary Finnish music. He began to study at the Sibelius Academy in Helsinki in the late1940s, but his professional career didn't begin until 1954 when his orchestral A Requiem in Our Time won a competition sponsored by Thor Johnson, then conductor of the Cincinnati Symphony Orchestra. That same year Rautavaara entered an advanced course in music composition with Aarre Merikanto and attracted the attention of Sibelius himself, who in 1955 recommended that Rautavaara be awarded a Tanglewood scholarship to study at the Julliard School for one year. In the United States Rautavaara studied with Aaron Copland and Roger Sessions, and once back in Europe, he completed his course of study in Switzerland with Wladimir Vogel and in Cologne with Rudolf Petzold.

Rautavaara, paraphrasing a statement usually made in reference to American politics, has said "If an artist is not a modernist when he is young, he has no heart. And if he is a modernist when he is old, he has no brain." Indeed, Rautavaara's style is rooted in modernism, and his earliest works are in a Nordic folk-derived idiom reminiscent of Bartók. Not surprisingly his approach shifted more strongly towards serialism after his experiences in Cologne. The political subject matter and often thorny 12-tone writing in Rautavaara's first opera, Kaivos (The Mine) led the Finnish National Opera to reject the work, but in a revised form Kaivos was aired on national Finnish television in 1963. This helped to establish Rautavaara's reputation in his home country.

By 1970 Rautavaara began to lose interest in the rigorous requirements of serialism. With his next major work, the opera Apollo contra Marsyas, Rautavaara opted for a poly-stylistic approach, utilizing jazz and popular music in an ironic juxtaposition against light Viennese classical music. This breakthrough led to the development of Rautavaara's mature style, in which the music is subservient to the demands of his programmatic concepts, whether political, environmental, social or spiritual. While Rautavaara's prestige gained ground in Europe throughout the seventies and eighties, it was his Symphony No. 7 "Angel of Light" (1994) that established his international reputation. This appealing and meditative work came as a surprise to many who felt that contemporary composers had grown hopelessly out of touch with the emotional needs of the public.

Rautavaara is a prolific composer with a career spanning seven decades. So far he has created ten operas, of which Thomas (1982-1985), Vincent (1986-1987) and Aleksis Kivi (1995-1996) are the best known. He has also produced eight symphonies and many concertos including the popular Cantus Arcticus; concerto for birds & orchestra (1972) and the double bass concerto Angel of Dusk (1980). Rautavaara has also written reams of choral, chamber and vocal music and a small amount of electronic music. Through working directly from his emotions and not hewing to party line serialism, Einojuhani Rautavaara has emerged, in the autumn of his life, as one the major figures in contemporary music worldwide.

不了解，等你们开讲。

听老念念叨了好久Rautavaara，今天终于入得第一枚录音，还来不及听。先开个帖子，请老念、alma等Rautavaara ...
scfan 发表于 2011-4-24 15:53

我买的交响曲全集套装，还是单碟看起来漂亮！
第一时间听Rautavaara就是听的这部第七交响曲“光之天使”，应该说，几个音符一出来，兴趣就来了。随着第一乐章的进一步展开，长镜头般的广阔视野唤起了我脑海中关于芬兰的一切美好“印象”（其实俺压根就没去过，但应该说并不陌生）：原野、森林、湖泊；极光、白夜、冬雪，所有的这些都那么的纯净、浩大、宁静无边，直延伸到视野的尽头。如果说西贝柳斯的音乐是芬兰民族性（Nation）的体现，那么Rautavaara的音乐中则是神秘的大地、天空里自然意义上的芬兰(Country)。

听完全碟，光之天使交响曲部分段落异常优美，只是全曲的神秘气息让俺这个德奥控有点不太适应。搭配的“圣母”管风琴协奏曲更是把俺带晕了，这哪儿是什么协奏曲嘛。隐约中觉得晕晕乎乎到了很多风光无限好的地方，醒来后又什么都不记得了。

看来还要继续学习学习。。。

光怪陆离，又有点诡异多端……
有评论家给他名头是折衷主义。

俺孤陋寡闻，没听说过

听完全碟，光之天使交响曲部分段落异常优美，只是全曲的神秘气息让俺这个德奥控有点不太适应。搭配的“圣母 ...
scfan 发表于 2011-4-25 00:01

总的来说，Rautavaara这一时期的作品还是倾向于传统手法的，不像他早期使用序列主义手法显得那么现代。第七交响曲应该说是作曲家最优秀的，也是最可能让人广为接受的一部作品了。某些段落，我会想到布鲁克纳，想起他们俩的一些音响性上的相似性，比如层层铺展开来的那种和声的暗涌；比如那种迷雾般的厚重。甚或在宁静的角度上去比较，两人也有些相似性，在布鲁克纳是一种内心的，也许用“沉思般的安详”比较适合。而在Rautavarra这里，却是一种人与自然神交时的内心宁静（典型的芬兰性格都有着某种近乎木纳般的“宁静”，芬兰大导演格里斯马基的许多电影对此都有令人印象深刻的表现），这种宁静甚至是某种空灵之境，与交响的分贝值没有关系，甚至音量越宏大，天与地的空间也被表现得更加宏伟，宽广而浩瀚！光之天使需要多么巨大的空间来飞翔呢？我想Rautavaara的第七交响曲给了我答案！

首次接触这部作品，让我几乎是在一瞬间就迷住了。之后两套Rautavaara唱片（一套交响曲全集，一套水兄贴图的12部协奏曲）听下来的感觉，大部分我都可以没有丝毫障碍地接受，同时也深深感受到北欧，尤其是芬兰湾-波罗的海之域的音乐都有着某种相似性，归结起来就是两个字：空灵！帕特如此，图宾如此，劳塔瓦拉同样如此。

第八交响曲“旅程”也值得一赏，冰海狂洋中的奋进之旅，一如既往地美轮美奂。
第八交响曲最推荐Ondine出的Segerstam版，BIS的Vanska版稍有些拖，音色也略“虚”，Naxos出的第八就差了不少。

但Naxos出的“光之天使”却达到很高水准，基本不输Ondine版

第八交响曲“旅程”也值得一赏，冰海狂洋中的奋进之旅，一如既往地美轮美奂。
第八交响曲最推荐Ondine出的 ...
erdathreeb 发表于 2011-4-26 10:58

请教erdathreeb兄,
Ondine，BIS 以及 Naxos 三版音响效果哪个好?