也许是觉得布鲁根在“DAS ALTE WERK”留下的优秀录音太多了，TELDEC干脆于1995年再版了一套由12张CD组成的布鲁根专辑“The Art of The Recorder”（唱片编号：TELDEC 4509-97475-2 12CDs),全面系统地展现了竖笛乐器的兴衰，竖笛（Recorder）是一种没有“簧片”的古老木管乐器,它大致兴起于12世纪，成长于文艺复兴时期，发展于巴洛克早期，18世纪走向衰弱，不过到了20世纪又开始复兴了。这套唱片是对布鲁根在那个年代（ 1962-1979）演奏录音生涯的回顾和纪念,而在曲目选择上唱片公司也考虑得非常周到，巴洛克时期的欧洲四大音乐重镇德国、意大利、英国和法国的音乐都涉及到了，具有较高的学术价值和欣赏价值。
先是简要生平介绍: 荷兰人布鲁根（Frans Brüggen ，October 30,1934-August 13,2014）早年是一位竖笛（Recorder)和长笛（Flute）演奏家，在80年代创建了使用古乐器(On period instruments)的“18世纪管弦乐团”（Orchestra of the 18th Century)并担任指挥，在古典音乐古乐领域颇有威望。
布鲁根1934年出生于荷兰阿姆斯特丹，小时候经历二战，期间学校停课，开始接触竖笛乐器。后来在家乡的音乐学院师从Kees Otten正式学习竖笛,同时还兼修了长笛以及音乐理论知识，于1954年毕业。21岁被聘为皇家音乐学院讲师，后来在世界多所大学担任音乐教授。从50年代开始，欧洲“古乐复兴运动”风起云涌，布鲁根就是当时“荷兰派”的代表人物之一，他们组建了“阿姆斯特丹四重奏”（Quadro Amserdam），另外三位成员包括小提琴家施罗德（Jaap Schröder），大提琴家毕尔斯玛（Anner Bylsma)以及羽管键琴演奏家莱昂哈特(Gustav Leonhardt)。笔者把他们四位戏称为古乐领域的“四大金刚”,因为按资排辈他们四位再加上奥地利人哈农库特(Nikolaus Harnoncourt)可以称得上是最早期的古乐前辈。从60年代开始布鲁根在德国TELDEC唱片公司旗下古乐品牌“DAS ALTE WERK”(古曲流韵）录制了大量巴洛克音乐唱片，很多录音都是“世界首录”（World Premier Recording）。另外70年代布鲁根还在“SEON”（由著名古乐制作人Wolf Erichson创立，他也是早期“DAS ALTE WERK”和后来“VIVARTE”的制作人）这个古乐品牌留下不少录音，其中也不乏精品。80年代开始布鲁根放下了手中的乐器，创建了“18世纪管弦乐团”，以指挥家的身份再次登场。乐团成员大多数是音乐学院的教师和古乐研究者，
从1981年开始他们每年都定期排练，到世界各地巡回演出，在演出过程中对其中一部分音乐会作现场录音，在新东家荷兰PHILIPS唱片公司出版唱片。90年代末唱片市场进入调整阶段，PHILIPS整体退出了唱片市场，在此背景下布鲁根更换到西班牙GLOSSA唱片公司,他与新东家合作继续发行唱片直到2014年去世。
下面简要介绍一下每张唱片的内容:
1.泰勒曼室内乐
第一张是泰勒曼室内乐作品，曲目包括六首幻想曲和六首奏鸣曲，幻想曲是竖笛独奏，选自12首“Fantasias TWV 40:2-13”，那些想要收集全套12首幻想曲的朋友可能会有点犹豫。六首奏鸣曲由竖笛、大提琴和羽管键琴合奏，选自“永恒的音乐大师”（Der getreue Music-Meister)和“练习曲集”（Essercizii Musici)。独奏（幻想曲）与合奏（奏鸣曲）相结合，听完整张唱片一点都不觉得乏味。就笔者而言，当听到幻想曲时感觉像是回到遥远的过去，在一片空旷的原野上笛声所表达出的是一种“凝重”与“孤寂”的感觉，亦或是一丝“凄凉”与“哀愁”，作品充满了“神秘氛围”。不过奏鸣曲的出现又把我迅速“拉了回来”，典型的“泰式”室内乐风格，百听不厌。六首奏鸣曲由“阿姆斯特丹四重奏”中的三位成员布鲁根、毕尔斯玛和莱昂哈特来演奏。
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2.意大利竖笛奏鸣曲
这是12张唱片中非常好听的一个专辑，在18世纪早期的意大利，小提琴作为主要的演奏乐器逐渐取代了竖笛的地位，意大利一些竖笛作曲家纷纷转向国外发展，但这并不影响竖笛音乐的创作，作曲家们谱写了大量的竖笛音乐作品，本片中出现的作曲家包括科莱利（Arcangelo Corelli,1653-1713）、Barsanti、Veracini、Bigaglia、Chédeville和Marcello，共八首奏鸣曲，都是巴洛克成熟期或晚期的作品，有些作品同时也为小提琴而作。其中科莱利的变奏曲“ La Follia”（Op.5，No.12)是其著名的作品，不少作曲家都改编过这段著名的旋律，此曲除竖笛版外小提琴与羽管键琴版（1700）更为著名，布鲁根在这个1702年竖笛版中有着令人惊艳的表现。另外出现的一位作曲家Diogenio Bigaglia在当时新技术的帮助下写下了这首使用“Quart flute”的奏鸣曲，音域比过去的乐器更为宽广。本片中所有曲目由布鲁根、毕尔斯玛和莱昂哈特来演奏。
第三张专辑中的英国合奏音乐创作于亨利八世时期到18世纪早期，大约经历了200年的时间，从唱片里面可以清晰感受到英国音乐的演变。这里出现的作曲家有很多，整张唱片充满了浓浓的“英国味”。以霍尔本（Anthony Holborne）的六乐章作品“Dances and Airs”开头，此曲由多件竖笛乐器和多件维奥尔琴（Viol)轮番演奏（Broken Consort)，接着是一些英国民歌改编曲、幻想曲、协奏曲和奏鸣曲，在一首辛普森（Thomas Simpson)创作的“Bonny Sweet Robin”作品中，出现了维吉纳琴（Virginal)的伴奏，声音若隐若现，音色非常特别，演奏者是Anneke Uittenbosch。Thomas Morley带来的三首小曲以竖笛和维奥尔琴两件乐器的不同组合形式来演奏，意大利元素和英国幻想曲传统元素相结合，非常精致。Andrew Parcham创作的高音竖笛与通奏低音奏鸣曲由布鲁根、哈农库特（Bass Viol）与莱昂哈特来演奏，在轻快的旋律中能够感受到音乐创作风格正处在新老交替的转型期。全片最为精彩曲目的当属巴贝尔（William Babell)的一首三乐章“七声部协奏曲”，由竖笛、四件小提琴、大提琴和羽管键琴来演奏，旋律优美，富有激情，现在看来这是一首被严重忽视的晚期巴洛克风格作品。巴贝尔的音乐出现在一些巴洛克管乐协奏曲的唱片中，但以他个人为主题的唱片目前似乎还没有，不能不说有点遗憾。整张唱片以英国巴洛克音乐代表人物普赛尔（Henry Purcell，1659-1695）的恰空（Chaconne)结束，三支高音竖笛、大提琴和羽管键琴演奏，与传统上由小提琴演奏的版本风格各有不同，此曲的羽管键琴演奏者换成了另一位荷兰大师Bob van Asperen。
接下来两张唱片是以曲目的创作时期来划分的，第一张是早期巴洛克竖笛音乐，创作时期集中在17世纪早期，作曲家的“名气”似乎都不大,来自意大利、德国与荷兰。作品从结构上可以分为两部分，前一部分四首曲目是一个叫Jacob van Eyck的荷兰作曲家创作的竖笛独奏曲，选自“Der Fluyten Lust-Hof”(The Flute’s Garden of Delights)中的第一卷（1646）和第二卷（1649），音乐从听感上相对来说会枯燥一些，第一首“Batali”像是一首“战歌”，第三首“Pavane Lachryme”里面有四段音乐，改编自道兰德（John Dowland)的名作“泪”（Pavane Lachryme)，最后一首模仿“夜莺叫声”的乐曲（Engels Nachtigaetje)倒很有特色,布鲁根非常“奢侈地”使用七支不同的竖笛来演奏这七段音乐。后一部分为器乐合奏曲，七首曲目来自五位不同的作曲家（其中最后一曲还是“无名氏”所作，可能是一位德国或波兰的作曲家。），由于其它乐器的加入音乐的音色显得更加丰富些，由竖笛、大提琴和管风琴或羽管键琴来演奏，有些曲目会出现多支竖笛。
第二张是晚期巴洛克室内音乐，里面的作曲家大部分都是名家，如德国的泰勒曼、匡茨（Johann Joachim Quantz)、法施(Johann Friedrich Fasch)，意大利的斯卡拉蒂(Alessandro Scariatti)等等，其中匡茨是当时德国著名的长笛演奏家、音乐理论家和作曲家。本片曲目包括四重奏、五重奏以及三重奏鸣曲和奏鸣曲共六首音乐，均由两件以上的管乐器参与。其中第一首泰勒曼的四重奏选自1733年出版的全三套“宴席音乐”（Musique de table)中的第二套，在低音声部大管替代了大提琴，不仔细听还真能“蒙混过关”。在匡茨的三重奏鸣曲（Trio Sonata)中，竖笛与横笛形成了“良性”竞争，音乐以稍快的节奏在欢快的氛围中结束。最后一曲是德国作曲家John Mattheson（1681-1764）创作的无通奏低音的三乐章奏鸣曲，三支高音竖笛演奏，三位演奏家在布鲁根的带领下完美演绎了这部作品,另两位竖笛演奏家是他的学生Kees Boeke和Water van Hauwe。
在第六辑中，三首作品包括迪厄帕尔（Charles Dieupart)的G大调和A大调两首组曲，曲目结构与泰勒曼的乐队组曲相类似，由一首序曲加上若干首不同舞曲组成，但演奏规模不如泰勒曼的组曲，所使用的三件乐器分别是竖笛、维奥尔琴（Viola da Gamba)或大提琴和羽管键琴，这位法国作曲家的作品还对巴赫产生了影响，在巴赫第一英国组曲的前奏曲中，可能就借用了迪厄帕尔“ A大调组曲”中的主题。两首组曲由于使用了不同的竖笛所以声音有明显的区别，G大调组曲中所使用的竖笛声音特别“明亮”，A大调组曲整体节奏则比较舒缓，直到终乐章“吉格舞曲”才稍显活泼。本片还有一首奥特泰尔(Jacques-Martin Hotteterre)作曲不带通奏低音的“为两支高音竖笛而作”的D小调第一组曲，它由七段音乐组成，两支竖笛演奏，音乐总体效果略显平淡，乐曲在终乐章五分钟长度的帕萨卡利亚舞曲中才达到高潮。
第七辑是法国竖笛奏鸣曲，所有五首作品都创作于18世纪早期，来自法国五位不同的作曲家。其中前四首作品中有两首“为竖笛与通奏低音而作”的奏鸣曲，通奏低音由大提琴和羽管键琴担当。其中第一首Philibert de Lavigne创作的“La Barssan”三乐章奏鸣曲音乐非常美妙，终乐章铃鼓舞曲充满生气与活力，富有神韵。另外两首不带通奏低音的“为三支竖笛而作”的奏鸣曲，两位作曲家分别是Joseph Bodin de Boismortier和Louis-Antoine Dornel。最后由一首大库普兰的竖笛与羽管键琴作品压阵，这首曲目改编自作曲家自己的一首羽管键琴曲——“羽管键琴组曲第三册（1722）”总第14首中的第一乐章“夜莺的爱”(le rossignol-en-amour),竖笛的声音非常“高亢
”，把夜莺的叫声模仿得“惟妙惟肖”，而羽管键琴声则是很好的衬托。
维瓦尔第（Antonio Vivaldi,1678-1741）的室内乐协奏曲（Chamber Concerto)，使用了竖笛、双簧管、小提琴和大管的不同组合，本片共收录了五首。在“RV 94”和“RV 105”两首作品中的第二乐章使用了“四季”之“冬”第二乐章的著名旋律，竖笛版的演奏与小提琴相比别有情趣。而在“RV 92”中的第三乐章，竖笛和小提琴的应答非常默契，音乐十分美妙，展现了作曲家的不凡之处。这些作品虽然规模不大，但极负感官刺激，各件乐器争相斗艳，回味无穷，录音中小提琴的声音会比较“尖锐”，有些人初听可能会感到不太习惯。布鲁根版维瓦尔第室内乐协奏曲一直以来都是这些作品的首选，直到90年代初意大利古乐团体“和谐花园”(Il Giardino Armonico)演奏的全集版本出现才算遇到了“对手”。片中另有两首独奏协奏曲是“为竖笛、弦乐与通奏低音而作”，伴奏乐队分别是哈农库特指挥的“维也纳音乐家合奏团”（Concentus musicus Wien）和阿姆斯特丹协奏团(Concerto Amsterdam)。
第九辑是亨德尔（George Frideric Handel,1685-1759）竖笛奏鸣曲，亨德尔是一位“高能多产”的作曲家，本片包括了他创作的全部六首竖笛奏鸣曲，这些都是亨德尔早期的作品，大约写于1712年，其中两首“Fitzwilliam Sonatas”是在他死后200年左右才出版的，作品“HWV 367a”在唱片录制时（1962年）只有五个乐章（1948年“Dart”版），之后到了70年代又增加了两个乐章。以上曲目还是由布鲁根、毕尔斯玛和莱昂哈特的组合来演奏。亨德尔的才华在一些“快板”乐章中得到更完美体现，布鲁根使用了同一支竖笛演奏六首作品，音乐取得了很好的一致性，录音有一些底噪，其它无可挑剔。唱片最后还加演了一首1730年左右出版的“为竖笛、小提琴和通奏低音”而作的三重奏鸣曲(op.2/4 HWV 389)，由布鲁根、哈农库特夫妇（Nikolaus&Alice Harnoncourt)以及塔赫齐（Herbert Tachezi)演奏，小提琴作为从属角色加入完美地配合了竖笛的演奏。
第十辑是泰勒曼乐队作品，是这套唱片中我最喜欢的一张。这里主要说说打头阵的A小调组曲，“为竖笛、两把小提琴、中提琴和通奏低音而作”（编号TWV 55：a2），这是泰勒曼最著名的作品了。它由一个法国式序曲和六个舞曲乐章组成，其中的一些舞曲章节还带有别名，如第二乐章的“赏心乐事”，第三乐章的“意大利风格咏叹调”，第五乐章的“欢乐”，另外还包括第四乐章的两首“小步舞曲”，第六乐章的两首“帕斯皮耶”（Passepied）舞曲和最后第七乐章的“波罗乃兹”舞曲。这首作品构思精妙，音乐充满想象力，想必在演奏时无论是听众还是演奏者都会被它“牢牢吸引”。布鲁根使用的是一支1720年伦敦出品的“Bressan”高音竖笛，虽然是1966年的老录音，但却很难听得出岁月留下的痕迹，转制时声音经过处理，平衡比较靠前，更突出了布鲁根的竖笛演奏，音色明亮而清晰。终乐章的波罗乃兹舞曲，音乐被重复演奏了三次，首先是乐队演奏，接着是竖笛独奏，最后由竖笛与乐队合奏，不同的乐器组合演奏效果各不相同，但都各具特色，绝无重复之感。另外两首作品是“C大调竖笛协奏曲”和以竖笛、大管、两把小提琴、中提琴和通奏低音形式出现的“六重协奏曲”，前一首共四个乐章（快-慢-快-慢），慢乐章优雅，快乐章欢快，竖笛与弦乐密切配合，大师级的演奏。在后一首作品中“明亮”的竖笛与“低沉”的大管形成了鲜明的对照，大管演奏者是Otto Fleischmann。整张唱片的伴奏都是哈农库特指挥的维也纳音乐家合奏团。
终于轮到巴赫(Johann Sebastian Bach,1685-1750)了。在这套全集中，这张巴赫专辑的曲目“分量”显得相对“弱”了一些，算不上是巴赫最热门的作品，有些则改编自作曲家的其它作品。一首羽管键琴协奏曲（BWV 1057）比较常见，莱昂哈特演奏的羽管键琴占据主导地位，琴声非常甜美。而另一首“横笛、小提琴和羽管键琴”三重协奏曲（BWV 1044）则较为少见，作为巴赫唱片“补遗”曲目倒很合适，乐队伴奏是“首次”出现的“Leonhardt-Consort”。还有一首是“为两支横笛、大提琴和羽管键琴而作”的三重奏鸣曲（BWV1039），在三重协奏曲和三重奏鸣曲中布鲁根所使用的是横笛。最后还有两首康塔塔（BWV 106和BWV 182）中带竖笛演奏的短曲(Sonatina&Sonata Concerto)作为本片的结尾，音乐在管风琴的伴奏下显得非常和谐，第二首更是加入了小提琴与竖笛配合增加了些许色彩，小提琴演奏是Marie Leonhardt，管风琴演奏则是她的“先生”。
最后一辑是一张竖笛“集锦碟”，曲目编排合理，可听性强，可以作为了解竖笛音乐的入门唱片。在前面专辑中出现过的一些作曲家再次出现，如亨德尔和“无处不在”的泰勒曼，曲目包括三首协奏曲、两首奏鸣曲和一首三重奏鸣曲。在亨德尔的三重奏鸣曲（HWV 386b)中，布鲁根使用了横笛，在首乐章与小提琴一起“委婉地”奏出了熟悉的动人旋律。片尾是一首泰勒曼的双协奏曲，在18世纪上半叶长笛逐渐有了取代竖笛之势，在此背景下泰勒曼创作了这首“为竖笛、横笛、弦乐和通奏低音而作”的双协奏曲，为听众提供了竖笛与横笛相比较的场合，在这首四乐章作品的终乐章音乐是何等的“起伏跌宕，动人心魄”。这首双协奏曲的伴奏由阿姆斯特丹室内管弦乐团（The Chamber Orchestra of Amsterdam)来完成，指挥是André Rieu（不是那位长头发演奏施特劳斯圆舞曲的跨界小提琴家）。
从感官角度来说，纯竖笛演奏的音乐听多了可能会觉得有点枯燥乏味，但当有其它乐器加入演奏时，可听性就提高了，所以此类曲目的唱片至今依然“层出不穷”。不过大家要知道的是布鲁根和他的同事们早在半个世纪以前就开始卓有成效地从事这项工作了。这套唱片就是最好的证明。
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