作曲家兼指挥

Barbara B. Heyman
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引用次数: 0

摘要

伦敦FFRR唱片公司邀请巴伯指挥和录制他的作品,包括美狄亚组曲和与Zara Nelsova合作的大提琴协奏曲,巴伯在丹麦跟随Nicolai Malko学习指挥。他勇敢地接受了挑战,并被大家接受了。排练进行得很顺利,最后他被邀请到柏林指挥他的小提琴协奏曲与查尔斯·特纳作为独奏家。在接受查尔斯·蒙克(Charles Munch)的邀请,与波士顿交响乐团(Boston Symphony Orchestra)一起指挥他的第二交响曲后,巴伯决定“厌倦了排练自己的音乐”。他相信优秀的作曲家不能成为优秀的指挥家,他决定把所有的精力都投入到他最主要的创作激情上:作曲。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Composer as Conductor
With an offer from the London FFRR label to conduct and record his works, including the Medea Suite and the Cello Concerto with Zara Nelsova, Barber studied conducting with Nicolai Malko in Denmark. He bravely took the challenge and was well accepted. Rehearsals proceeded well, and eventually he was invited to Berlin to conduct his Violin Concerto with Charles Turner as soloist. After answering an invitation by Charles Munch to conduct his Second Symphony with the Boston Symphony Orchestra, Barber decided he was “tired of rehearsing his own music.” He believed that good composers did not make good conductors, and he decided to devote all his energy toward his primary creative passion: composing music.
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