Schakal的音乐

SELECTED REVIEWS FOR “TRANSFIGURED MOZART” Alan BECKER American Record Guide "Transfigured" is correct, for most of these pieces are anything but simple transcriptions of the composer's music. At almost 30 minutes, Max Reger's Variations and Fugue on a Theme of Mozart as arranged by Karl Salomon, is the longest of the works here. With the distinguishing orchestral colors missing, the music can become a bit of a trial, but South African-born pianist Malan, following up her effective debut album, "Transfigured Bach", makes a feast of it. A lot of this is owing to Salomon's always interesting pianistic writing, but let's give credit also to the rich palette of colors conjured up by some exceptional pianism. Glinka's Mozart Variations uses the glockenspiel solo from Magic Flute as its point of departure. Following the theme are three variations and a coda-all in the space of six minutes. Since Glinka's original score was lost, this is a reconstruction by his sister Lyudmila Shestakova. She had to be a reasonably good pianist to handle the splashy variations. Hummel obviously knew what he was doing when he wrote his Fantasina on a Theme of Figaro. This free fantasy based on 'Non piu andrai' is both imaginative and great fun to listen to. Malan sounds like she's enjoying every bit of it, and her playing sparkles with sunshine and wit. Opera is also the source for Joachim Raff’s Souvenirs de Don Giovanni. The ever popular Don is the subject of yet another fantasy that draws freely on Mozart's thematic riches. This potpourri is always musical in presentation and avoids most of the empty rhetoric that one finds in Thalberg's fantasies. Malan copes without difficulty with the technical writing that does not stray too far from the tunes. Thalberg, on the other hand, is on his best behavior for the 'Lacrimosa' from the Requiem. His very respectful transcription declines any embellishing of Mozart's sublime writing. Alkan's Andante from the Quartet 18 is pretty straightforward and not at all what one might expect from his other piano writing. Ignaz Friedman's tinkering with the Romance from 'Eine Kleine Nachtmusik' and the Minuet from the Divertimento with two horns burdens the music with arpeggios, key changes, tweaked harmonies, and lots of romantic rubato. If you can accept that, it all works very well in the hands of the comely Petronel, who seems to imbue everything she plays with conviction and style. Given the fine sound and excellent notes, this should be another hit for the pianist. International Record Review, December 2006 Mozart: A final anniversary survey of CDs by Peter Branscomb "... As indeed for a more experience aficionado would "Transfigured Mozart", a 2005 recital by South African pianist Petronel Malan, who has had the challenging notion to build a programme of transcriptions of Mozartian themes made by Hummel, Glinka, Thalberg, Alkan, Raff, Ignaz Friedman and Reger (an arrangement by Karl Salomon of the Variations and Fugue, Op. 132). This generous, closely recorded CD shows Malan and her Blüthner to excellent advantage." Petronel Malan (Hänssler Classic) **** (4 stars) GAUDISC ABC de las Artes y las Letras, September 2006 It lacks, in an epoch of encredulity and irreverence, to add another release to the Mozart anniversary year - but this includes laborious hours from the most diverse transcribers.... There is a lot of curiosity in this program of "transfigurations" interpreted by the South African pianist Petronel Malan who seam to be a specialist in this type of adventures and praised by previous releases of the works of Bach.... One realizes, as was said by Max Reger "we need Mozart as much as possible" and yet, for that reason, the Theme and Variations, Op. 132 for orchestra in a solo piano version (which is already a transcription of a transcription) crowns this brilliant recording of Petronel Malan. MUSICUS MAGAZINE Volume 3 - 4.2.06 - A South African Journal for Music Teaching, National Magazine, South Africa ".... With Petronel Malan's recent nationwide tour, she proved once again what a unique musician she truly is. Her simply astonishing technical abilities fall in conjuction with her musicality..... The recording was made at the Blüthner Piano Factory in Leipzig, Germany and the sound quality is uniquely natural...." Louis Heyneman Die Burger, Cape Town MALAN EXHIBITS FULL COLOUR PALETTE OF THE GRAND PIANO The first time I saw Petronel Malan in action was at the Hennie Joubert Competition in Wellington. She was not quite 12 years old. Her technical abilities stunned everyone and her musical insight was already very mature for her tender age. Some years later, when she won the SABC Music Prize - the most sought after piano competition in South Africa at the time - no one was surprised. Last year, her début album, Transfigured Bach, was nominated for 3 Grammy Awards, including "Best Instrumental Solo Album." And suddenly the rest of the world knows what music lovers in South Africa knew a long time ago: Petronel Malan is a talent of world caliber. Her second album, Transfigured Mozart, was recently released during a tour of her home country of South Africa. The Mozart-transcriptions of Liszt, Godowski and Busoni are all very well known and thus not included in this recording. The seven selections were carefully chosen - mostly her own research - to present lesser-known yet interesting works. Stylistically the works span more than 150 years, from the development of the piano as the delicate "Hammerklavier" to the modern grand piano. There are works of Hummel (a student of Mozart), Alkan, Thalberg, Glinka, Friedman, Reger and Raff. The company, "Hänssler Classic" also emphasizes to the listener that Malan uses Blüthner pianos for her recordings. For the layman it might sounds like unnecessary information, but for the connoisseur it is an enormously important point because the most delicate sound palette is created through a determined philosophy and technique: In most pianos, the hammer hits three standard upper strings - but the Blüthner pianos uses a 4th and raised string for these upper notes, named "Aliquot." This "floating string" gives the pianos an exceptional singing tone, a noticeable different character than the brilliant, piercing sound of a Steinway. Not necessarily better, just different. It is clear that Malan possesses an exceptional affinity for die Blüthner sound. With her brilliant articulation, attention to timbre and balance of sounds and colours, each work is a discovery. Her interpretations are sometimes individualistic, but never uninteresting or without musical merit. Sigismund Thalberg's uncomplicated transcriptions of the heart wrenching Lacrimosa from Mozart's Requiem becomes a polished sound-creation where all the emotions of the orchestra and choir are combined. The balance between the soft bass-sounds and the singing melodic line in this performance is just right. One of the works where the sound-palette are most obvious, is Joachim Raff's (1822 - 1992) Souvenirs de Don Giovanni - a dramatic work based on themes of Mozart's opera with the same name. It is striking how she manages to actually create two different sound-palettes at the same time! The growling bass-register strikingly carries the dramatic character of Mozart's darkest opera and the bell-like upper register emphasizes the playful elements. Ignaz Friedman's elegant transcription of the Romance from "Eine Kleine Nachtmusik" requires that the pianist executes five or 6 string parts at the same time. The album concludes with the monumental "Variations and Fugue on a theme of Mozart" by Max Reger - based on the opening theme of Mozart's Piano Sonata in A major (K. 331). Mozart's original composition is also a set of variations, but Reger transforms the theme in a completely different manner. It was originally composed for both orchestra and two-pianos by Reger and Karl Salomon adapted it for solo piano. It is a work of extremes where the performer's technical abilities and musical intellect are pushed to the utmost in the large architectural structure of the work. The illusion of 2 pianos are kept through-out the piece and creates enormous challenges for the solo performer. The first challenge already appears in the first variation where the inner-melodies within the multi-motivic texture, must continue seamless singing. The 5th Variations with is altering, multi-faceted material often happening at the same time, is a technical nightmare - while the persevering melodic line of the subtle 8th variations sounds deceivingly simple, but in truth requires great musical insight. The work ends with an unforgiving fugue which builds almost to breaking point, has a slightly calmer middle-sections, only again to slowly build to a great and stately climax. Here, the glory of the modern grand piano and it's sound pallet is fully exhibited. All that one can add at this point, is “BRAVO!” James E. Leonard All Media Guide Mozart?” Yes, indeed, transfigured Mozart. Eschewing either original works or the best-known arrangements, South African pianist Petronel Malan has chosen transcriptions which radically transform, nay, transfigure Mozart’s music. From Johann Nepomuk Hummel’s brilliantly post-Classical “Fantasina on a theme of Figaro” through Sigismund Thalberg’s austerely reverential “Larcrimose tiré du Requiem de Mozart” to Reger’s massively virtuosic “Variations and Fugue on a Theme by W. A. Mozart” – the theme, by the way, is Mozart’s theme for the set of variations that open his famous A major Piano Sonata – Malan has unearthed works which allow us to hear Mozart with wholly new ears. And in every case, Malan performs them with commanding technique – no easy thing in Reger’s gnarly fugue – comprehensive tone (everything from the most hushed pianissimo to the thickest textures sings with full-throated ease), and unstinting generosity; Joachim Raff’s “Souvenirs de Don Giovanni” may not be the greatest music ever composed but you’d never know it from Malan’s sympathetic performance. Released in the Mozart year of 2006, “Transfigured Mozart” will be a relief to those who already have enough recordings of the standard Mozart repertoire and a delight to those who cherish great piano playing. Hänssler’s recording of Malan’s sweet-toned Blüthner grand is the next best thing to sitting next to her on the bench.

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The German text is in bold. The names of characters and the number descriptions are given in English only. The English text is first followed by the original German text. There is another post on theoryofmusic with the two texts in parallel in a table. Christ on the Mount of Olives Christus am Ölberge Jesus Recitative and Aria Jehovah, Thou my Father, as Thou hast power, give me strength to bear! Now in this hour sorrowful is my grief. I have glorified Thee. Even before Thy command, from chaos the world was formed. The voices of Thy seraphs now thunder commanding him who dies for men alone to stand before Thy judgment seat. O Father! I will appear at his call, to intercede with Thee, to atone, I alone, for guilty man. How can this feeble race, from dusted created, ever know the feeling that I, Thy only Son, must now endure? Ah, see the pangs that throb my heart! My soul is faint, my Father! See how my heart does throb. O pity me! Jehovah, du mein Vater’ o sende Trost und Kraft und Stärke mir! Sie nahet nun, doe Stunde meiner Leiden, von mir erkoren schon, noch eh’ die welt auf dein Geheiss dem Chaos sich entwand. Ich höre deines Seraphs Donnerstimme. Sie fordert auf, wer statt der Menschen sich vor dein Gericht jetzt stellen will. O Vater! Ich erschein’ auf deiner Ruf. Vermittler will ich sein, ich büsse, ich allein, der Menschen Schuld. Wie könnte dies Geschlecht, aus Staub gebildet , ein Gericht ertragen, das mich deinen Sohn, zu Boden drückt? Ach sich’, wie Bangigkeit, wie Todesangst mein Herz mit Macht ergrieft! Ich leide sehr, mein Vater! o sieh’, erbarm’ dich mein! My whole soul within me trembles, From the torture drawing near. O behold me, see me tremble. See the pain that fills my soul. How my heart is full of sorrow. With the thought of deathly pain. Drops of blood and sweat of torment, From my forehead fall like rain. Father! O glorify Thou me, With the glory that is Thine, And the power if Thou are willing; Take away this cup from me. Meine Seele ist erschüttert von den Quallen die mir dräu’n; Schrecken fasst mich, und es zittert grässlich schaudernd mein Gebein. Wie ein Fieberfrost ergreifet mich die Angst beim nahen Grab, und von meinem Antlitz träufet, statt des Schweisses, Blut herab, Vater! Tief gebeugt und kläglich fleht dein Sohn hinauf zu dir! Deiner Macht ist Alles möglich; nimm den Leidenskelch von mir! Seraph and Chorus Recitative and Aria The Seraph spoke thus: This is Jehovah’s son. Behold him! In the earth he lies; for his Father now hath left him enduring terrible sorrow. The Holy One has now prepared to die a bitter death for sinners; a willing saviour to save a cruel world, to a life everlasting. Thus man lives eternally. Erzitt’re, Erde! Jehovah’s Sohn liegt hier, sein Antlitz lief in Staub gedrückt, vom Vater ganz verlassen, und leidet unnennbare Qual. Der Gütige! Er ist bereit, den martervollsten Tod zu sterben, damit die Menschen, die er liebt, vom Tode aufer stehen und ewig, ewig leben. Prize the Redeemer’s goodness; All men prize His grace. He dies in loving kindness to save your guilty race. O praise Him, great Redeemer. Your Saviour sacrificed. To man He brings salvation Through faith, with hope of life. To those dishonouring his sacrifice of blood, God shall condemn them all; His judgement is their lot. Preist des Erlösers Güte, preist, Menschen, seine Huld! Er stirbt für euch aus Liebe, sein Blut tilgt eure Schuld, O Heil euch ihr Erlösten! Euch winket Seligkeit, wenn ihr getreu in Liebe, in Glaub’ und Hoffnung seid, Doch weh! Die frech entehren das Blut, das für sie floss, sie trifft der Fluch des Richters, Verdammung ist ihr Loos. Jesus Recitative Abba, my Father, O declare! Take away in this hour all my fear. Nevertheless, not what I will, but Thine. Verkündet, Seraph, mir dein Mund Erbarmen meines ew’gen Vaters? Nimmt er des Todes Schrecknisse von mir? Seraph So spake Jehovah: The curse remains on man until atonement is made by shedding blood. The law must be fulfilled or man is lost; When this debt is paid, man will live forever. So spricht Jehovah: Eh’ nicht erfüllet ist das heilige Geheimniss der Versöhnung, so lange bleibt das menschliche Geschlecht verworfen und beraubt des ew’gen Lebens. Jesus and Seraph Duet On me then falls this heavy burden. Its weight, O Father, help me bear; On me now falls the weight of anguish. If Thou will mankind’s children spare. So ruhe denn mit ganzer Schwere, auf mir, mein Vater, dein Gericht. Giess’ uber mich den Strom der Leiden, nur zürne Adams Kindern night. Behold the Saviour! How he trembles! What heavy sorrows he sustains; Such weighty burdens fall upon him; A world of grief and heavy pains. Though great the pain, the grief, the terror, From God’s own justice on Him hurled, Yet greater far the love and mercy All used to save a woeful world! Erschuttert sch’ich den Erhab’nen, in Todesleiden eingehüllt. Ich bebe, und mich selbst umwehen die Grabesschauer, die er fühlt. Gross sind die Qual, die Angst, die Schrecken, die Gottes Hand auf ihn ergiesst: dosh grösser ist noch seine Liebe, mit der sein Herz die Welt umschliesst! Jesus Recitative O welcome, death, which I must suffer, for man’s salvation, on the cross. O, ye who in cold graves are sleeping, in eternal sleep deep in its grasp holds fast, henceforth awake to joy and bliss. Awaken. Willkommen, Tod, den ich am Kreuze zum Heil der Menschheit blutend sterbe! O seid in eurer kühlen Gruft gesegnet, die ein ew’erg Schlaf in seinen Armen hält; ihr werdet froh zur Seligkeit erwachen. Soldiers We surely here shall find him. We’ll take him and we’ll find him. Although he tries to fly, Tomorrow he will die! Wir haben ihn gesehen nach diesem Berge gehen, entfliehen kann er nicht, ja, seiner wartet das Gericht. Jesus Recitative They now approach the great Redeemer, who prays to heaven; O Father, do let the heavy hours of pain pass O’er me soon; let them fly like the swift winds as it pushes a storm quickly across the sky. Yet, not my will be done; Thine only be accomplished. Die mich zu fangen ausgezogen sind, die nahen nun. Mein Vater! O fuhr in schnellem Flug der Leiden. Stunden an mir vorüber, dass sie flieh’n, rasch, wie die Wolken, die ein sturmwind treibt, an deinem Himmein zieh’n. Doch nicht mein Wille; dein Wille nur geschehe. Soldiers Now, traitor, we will tie thee and punish thee at last, Thou self-styled KIng of Jewry, we’ll seize and bind thee fast! Hier ist er, der Verbannte, der sich im Volke kühn, der Juden Konig mannte; ergrieft und bindet ihn! Disciples What noise is this around us? Our deadly foes have found us! With soldiers cruel on high, O whither can we fly? Was soll der Lärm bedeuten? Es ist um uns geschehen! Umringt von rauhen Kriegern, wie wird es unsergehn? Peter Recitative We cannot thus allow our Lord be harmed and stand aside. Our Lord, Our Friend and Master! I must assay to leave Thee. Nicht ungestraft soll der Verweg’nen Schaar dich Herrlichen, dich meinen Freund und Meister, mit frecher Hand ergriefen. Jesus O, let the sword remain within its sheath. Were it the will of my heavenly Father to save this head from foes who wish to harm it, Legions of o’erpowering Angels with orders straight from Heaven would come. O lass dein Schwert in seiner Scheide ruh’n! Wenn es der Wille meines Vaters wäre, aus der Gewalt der Feinde mich zu reten, so würden Legionen Engel bereit zu meiner Rettung sein. Peter Trio My beating heart is angry; with rage o’erpowering it grows. Let vengeance now be sated on impious, cruel foes! In meinen Adern wuhlen gchtereer Zorn und Wuth, lass meine Rache kühlen, in der Verweg’nen Blut. Jesus Let vengeance come from Heaven! Did not our Master say: Forgive and love each other; let good for ill repay. Du solist nicht Rache üben! Rache uben! Ich lehrt’ euch blos allein die Menschen alle lieben, dem Feinde gern verzeih’n. Seraph Inspired words are spoken above all human code. Heaven bids be loving, in all ways, bids our God! Merk’ auf, o Mensch, und höre: Nur eines Gottes Mund macht solche heil’g Lehre der Nächstenliebe kund. Jesus and Seraph What heavenly joys await them who listen to his word; to love the foes that hate them, ‘Tis thus to please the Lord! O menschenkinder, fasset dies heilige Gebot; Liebt jenen, der euch hasset, nur so gefallt ihr Gott. Soldiers Quick, seize and bind this arrant traitor; Let’s here no longer stay. Death to the arch imposter! Let’s drag him hence away. Auf! ergreifet den Verräther, weilet hier nun länger nicht! Fort jetzt mit dem Missethäter, schleppt ihn schleunig vor Gericht. Disciples O, how our Lord is hated, cruelly treated, dragged on high. We’ll now join him in his bondage, doomed to anguish, doomed to die. Ach, wir werden seinetwegan auch gehasst, verfolget sein! Man wird uns in Bande legen martern und dem Tode weih’n. Jesus Now transgressors, see him wounded! My redemption work is done! Powers of Hell are now confounded and the fight will soon be won. Mein Qual ist bald verschwunden, der Erlösung Werk vollbracht, bald ist gänzlich überwunden und besiegt der Hölle Macht. Chorus Glorious worlds above us spire, Happy Seraphs sing your joys. Man, join in the holy choir, Hail the great Redeemer’s praise. Welten singen Dank und Ehre dem erhab’nem, Gottes Sohn, Preiset ihn, ihr Englechöre, laut im heil’gen, Jubelton! Source Anonymous translation. LP record, Ludwig van Beethoven: Christ on the Mount of Olives, Op. 85. World Record Club, T 406, 1962? The translation is probably from the nineteenth century

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