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发表于 2022-9-18 21:53
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来自 云南省昆明市
这个网址对Johanna Martzy (Violin)及其艺术风格、长项短板分析得很好：
https://www.bach-cantatas.com/Bio/Martzy-Johanna.htm
Born: October 26, 1924 - Timisoara, Transylvania
Died: August 13, 1979 - Glarus, Switzerland
The Hungarian violinist, Johanna, Martzy, received instruction from Jenö Hubay before entering the Budapest Academy of Music at age 10. She made her debut in Budapest when she was 13, and graduated from the Academy in 1942.
After winning 1st prize in the Geneva Competition in 1947, Johanna, Martzy toured widely; first played in England in 1953 and in the USA in 1957. She acquired a fille reputation as a soloist and chamber music artist.
Johanna Martzy passed away from cancer in 1979 almost unnoticed - particularly in the USA, where she had performed with the New York Philharmonic Orchestra in the late 1950’s but thereafter was an unobtrusive visitor to North America. Though only 54 when she died, she hadn't recorded commercially in decades. Her period in the limelight was brief; her dénouement was long..
Apprectiations & Recordings
Johanna Martzy's was a deceptive talent: The tone was filigree and silvery, but not particularly beautiful. The vibrato was quick and applied with a spareness that never allowed room for sentimentality. Tempos were swift and straight-ahead with no lingering. In later years (the 1970’s), the tone grew a bit leathery but the tempos were more elastic, but in her prime, her playing had a coolness bordering on severity. The soul of her art was her coloristic expressiveness, delivered with such precision and discretion that each phrase became a tiny, and rich, world of its own. Once you've zeroed in on that quality, the ear can't help seizing on it even in her most ensemble-minded, self-effacing chamber recordings, such as her performances of Beethoven's Piano Trio No. 1 and Dvorák's "Dumky" Piano Trio with István Hajdu and Paul Szabo. All of this is encased in a sense of line that's marvelously expansive, unbroken and buoyant. Martzy's expressive parameters were narrow, but they couldn't have been more resolutely defined.
She had a quality of inhabiting a piece from the inside and saw little need to gussy up the surface; to the jaded or inattentive ear, her interpretations can seem to lack incident. Skeptics, however, need only listen to her EMI recordings of the Bach Sonatas and Partitas, music to which her severity couldn't have been better suited. In fact, Bach seems to be the defining composer of her aesthetic: prior to the period-instrument movement, most performances of these masterpieces have moments of heavy weather, of too much sound being crowded into too small a space. And there are easier things in the violin repertoire than sustaining the repeat-laden dance movements. Martzy's recordings are the exception, her precision of tone addressing the problems of the former, her long sense of line carrying her through the latter.
There are downsides to her approach. Cerebral but not intellectual, Johanna Martzy is mostly incapable of projecting the charm of Mozart. In her until-recently-suppressed recording of Mozart's Violin Concerto No. 3 with Wolfgang Sawallisch, she seems relieved to hit the cadenza, in which she can throw off the responsibility to ingratiate. Most puzzling of all are her two EMI recordings of the Felix Mendelssohn concerto. Though it's always tempting to declare the suppressed version to be superior, this time it's really true. The commercially released version conducted by Paul Kletzki emphasizes the music's classical qualities to the point of slickness. Wolfgang Sawallisch is far more attuned to the music's darker underpinnings, inspiring a concentration from Martzy that reminds you - if any doubt remained - that this is a great violinist, albeit one who perhaps didn't know what collaborators were best for her. Might that be the core reason her career never developed?
Posthumous careers such as Martzy's germinate unpredictably, often from the second-hand LP record market. Her EMI and Deutsche Grammophon LPs, dating from the 1950s, now go for as much as $500 a disc. Perhaps in response to that, Japanese EMI released the six-disc "Art of Johanna Martzy" in 1988. The first Martzy CD release in the West came in 1994 with her Johannes Brahms and F. Mendelssohn concerto performances on Testament. Then from smaller labels came a flood of previously unreleased material. The England-based Coup d'Archet delivered five discs of European radio releases that were hard to get in the USA (though some have turned up on Amazon.com). The Doremi label has a series of live recitals taped in Canada, though only Volume 1 is currently available. Meanwhile, Japanese EMI re-released its Martzy CD box with an added bonus: two long-suppressed recordings from 1954 of the violinist playing F. Mendelssohn and Mozart with Wolfgang Sawallisch, made amid quarrels about tempo and other matters.
Johanna Martzy’s solo J.S. Bach, which has acquired iconic status, is well played technically and very satisfying. Deploying the sturdy rhythm and glowing tone that are features of all her recordings, she gives balanced, middle-of-theroad interpretations, unhurried and free of self-indulgence. The three original LP’s were well received on both sides of the Atlantic. In America the New York Herald Tribune chose the set as one of its recordings of 1956. In England Edward Greenfield of The Manchester Guardian remarked on Martzy’s ‘luscious vibrato’ but was not bothered by it; and on a later occasion he preferred her set of the Sonatas and Partitas to that of Jascha Heifetz. Desmond Shawe-Taylor of The Observer recommended her recordings ‘for sound musicianship and sustained sweetness of tone’. Interestingly, the question of her vibrato was also brought up by Schonberg after her New York début: ‘Her Bach was anything but purist and “classic” in conception. She approached the music with decisive rhythm and a good deal of vibrato (perhaps a little too much vibrato, in the slow movement; but this is a question of taste).’ Although he was writing about a concerto – and his remarks are borne out by live Martzy recordings of the Bach solo concertos - the points he makes are equally applicable to her unaccompanied Bach. Her interpretations are directly in the tradition of Hungarian fiddlers such as Szigeti, Telmányi and Varga: her native flair and unshowy virtuosity make up for any ‘romantic’ habits in her playing.
不太精准得机器翻译仅供参考（英文看得累可以先了解大概意思）：
Johanna Martzy 是一个具有欺骗性的天赋：音色是金银丝银丝，但不是特别漂亮。颤音速度很快，应用得非常轻松，绝不允许多愁善感。节奏迅速而直接，没有挥之不去。在后来的几年（1970 年代），音调变得有点坚韧，但节奏更有弹性，但在她的全盛时期，她的演奏有一种近乎严厉的冷静。她艺术的灵魂是她的色彩表现力，以如此精确和谨慎的方式表达，以至于每个短语都变成了自己的一个微小而丰富的世界。一旦你把注意力集中在这种品质上，即使是在她最合奏、最谦逊的室内录音中，比如她演奏的贝多芬第一钢琴三重奏，耳朵也会情不自禁地抓住它以及与 István Hajdu 和 Paul Szabo 合作的 Dvorák 的“Dumky”钢琴三重奏。所有这一切都被包裹在一种非常广阔、不间断和充满活力的线条感中。Martzy 的表达参数很窄，但它们的定义再明确不过了。
她有一种从内部居住的品质，并且认为没有必要在表面上进行修饰。对于疲倦或注意力不集中的耳朵，她的解释似乎缺乏事件。然而，怀疑论者只需要听听她在 EMI 录制的巴赫奏鸣曲和组曲，她的严肃性再适合不过了。事实上，巴赫似乎是她美学的决定性作曲家：在古器乐运动之前，这些杰作的大多数演奏都有恶劣天气的时刻，太多的声音被挤进太小的空间。在小提琴曲目中还有比维持重复的舞蹈动作更容易的事情。Martzy 的录音是个例外，她精准的音调解决了前者的问题，她的长线感带领她完成了后者。
她的方法有缺点。Johanna Martzy 有头脑但不聪明，几乎无法展现莫扎特的魅力。在她与沃尔夫冈·萨瓦利施（ Wolfgang Sawallisch ）录制的莫扎特第三小提琴协奏曲直到最近被禁止录制时，她似乎松了一口气，在华彩乐段中她可以摆脱讨好他人的责任。最令人费解的是她为费利克斯·门德尔松协奏曲录制的两张 EMI 唱片。虽然总是很想将压制版本宣布为优越，但这一次是真的。由Paul Kletzki 指挥的商业发行版本将音乐的古典品质强调到圆滑的程度。沃尔夫冈·萨瓦利施更适应音乐的黑暗基础，激发 Martzy 的专注力，提醒您 - 如果仍有疑问 - 这是一位伟大的小提琴家，尽管她可能不知道哪些合作者最适合她。这可能是她事业一直没有发展的核心原因吗？
像 Martzy 这样的死后事业出人意料地萌芽，通常来自二手 LP 唱片市场。她的 EMI 和 Deutsche Grammophon LP 可以追溯到 1950 年代，现在每张唱片的价格高达 500 美元。或许是对此的回应，日本 EMI 于 1988 年发行了六张唱片“Art of Johanna Martzy”。西方第一张 Martzy CD 发行于 1994 年与她的Johannes Brahms和F. Mendelssohn《遗嘱》协奏曲表演。然后从较小的标签中涌现出大量以前未发布的材料。总部位于英格兰的 Coup d'Archet 提供了五张在美国很难买到的欧洲广播唱片（尽管有些已经出现在 Amazon.com 上）。Doremi 标签在加拿大录制了一系列现场演奏会，但目前只有第 1 卷可用。与此同时，日本 EMI 重新发行了它的 Martzy CD 盒，还有一个额外的好处：1954 年小提琴家与Wolfgang Sawallisch演奏F. Mendelssohn和 Mozart的两张长期被压制的录音，是在关于节奏和其他问题的争吵中录制的。 Johanna Martzy 的独奏JS Bach
获得了标志性地位，技术上打得很好，非常令人满意。她运用了她所有录音的特点——强劲的节奏和明亮的音调，给出了平衡、中庸的诠释，从容不迫，没有自我放纵。三张原版 LP 在大西洋两岸都很受欢迎。在美国，《纽约先驱论坛报》选择了这套唱片作为其 1956 年的录音之一。在英国，曼彻斯特卫报的 Edward Greenfield评论了 Martzy 的“甜美颤音”，但并没有被它打扰。后来有一次，他更喜欢她的奏鸣曲和组曲，而不是雅莎·海菲茨的。《观察家报》的戴斯蒙德·肖-泰勒推荐了她的录音“因为声音的音乐性和持续的甜美音色”。有趣的是，Schonberg 在纽约首演后也提出了她的颤音问题：“她的巴赫在概念上绝不是纯粹主义和“经典”。她以决定性的节奏和大量的颤音来接近音乐（在缓慢的乐章中，颤音可能有点过多；但这是一个品味问题）。尽管他写的是一部协奏曲——他的言论得到了现场 Martzy 巴赫独奏协奏曲录音的证实——但他提出的观点同样适用于她没有伴奏的巴赫。她的诠释直接继承了 Szigeti、Telmányi 和 Varga 等匈牙利小提琴手的传统：她天生的天赋和不张扬的精湛技艺弥补了她演奏中任何“浪漫”的习惯。
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发表于 2022-9-18 16:05
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