1
Endgames
Jeffery Zook
Leonard Slatkin
2
The Raven : I. The Sleeper
Alec Baldwin
Leonard Slatkin
3
The Raven : II. The Bells
Alec Baldwin
Leonard Slatkin
4
The Raven : III. Romance
Alec Baldwin
Leonard Slatkin
5
The Raven : IV. The Coliseum
Alec Baldwin
Leonard Slatkin
6
The Raven : V. The Raven
Alec Baldwin
Leonard Slatkin
7
Kinah
Detroit Symphony Orchestra
Leonard Slatkin
8
In Fields
Manhattan School of Music Symphony Orchestra
Daniel Slatkin
9
21 Hungarian Dances, WoO 1, Book 4 : No. 2 in F-Sharp Minor. Andantino (Arr. for Violin & Orchestra) [Live]
Felix Slatkin
Johannes Brahms
10
Cello Concerto No. 2 in D Major, Op. 101, Hob. VIIb:2 : III. Rondo (Arr. E. Korngold for Cello & Orchestra)
Eleanor Aller
Joseph Haydn
11
Fisher’s Hornpipe (Arr. C. McTee & F. Slatkin for Orchestra)
Manhattan School of Music Symphony Orchestra
Traditional
12
Wistful Haven (After Dvořák's B. 178)
Manhattan School of Music Symphony Orchestra
Cindy McTee
13
Carmen's Hoedown (After Bizet's WD 31)
Manhattan School of Music Symphony Orchestra
Felix Slatkin
Slatkin - The Raven, Endgames, Kinah & In Fields
斯拉特金家族 管弦乐作品
Brahms, Johannes (1833-1897)[德] 勃拉姆斯，约翰内斯
Haydn, Franz Joseph (1732-1809)[奥] 海顿，弗兰兹·约瑟夫
McTee, Cindy (1953-)[美] 麦克蒂，辛迪
Slatkin, Felix (1915-1963)[美] 斯拉特金，费利克斯(父) *
Slatkin, Leonard (1944-)[美] 斯拉特金，伦纳德(子) *
Slatkin, Daniel (1994-)[美] 斯拉特金，丹尼尔(孙) *
大提琴:埃莉诺·阿莱尔(母) Eleanor Aller
旁白:亚历克·鲍德温 Alec Baldwin, narrator
短笛:杰弗里·祖克 Jeffery Zook, piccolo
中音长笛:莎伦·斯帕罗 Sharon Sparrow, alto flute
英国管:莫妮卡·福斯诺 Monica Fosnaugh, cor anglais
降E调单簧管:劳伦斯·利伯森 Laurence Liberson, clarinet in E flat
低音单簧管:香农·奥姆 Shannon Orme, bass clarinet
低音巴松管:马库斯·舍恩 Marcus Schoon, contrabassoon
Leonard Slatkin/Detroit Symphony Orchestra,
Manhattan School of Music Symphony Orchestra,
伦纳德·斯拉特金/底特律交响乐团、曼哈顿音乐学院交响乐团
伦纳德·斯拉特金 的《乌鸦》的各乐章分别取材于埃德加·爱伦·坡不同诗歌及元素，具体如下：
I. The Sleeper：该乐章的灵感来源于爱伦·坡的诗歌《沉睡者》（The Sleeper），诗歌营造出一种静谧、神秘且带有死亡气息的氛围，与乐章想要表达的情感和意境相契合。
II. The Bells：此乐章取材于爱伦·坡的诗歌《钟声》（The Bells），原诗通过对不同钟声的描写，展现了从欢乐到悲伤等不同的情绪和场景，在音乐中以独特的方式进行了诠释。
III. Romance：这一乐章的创作受到爱伦·坡诗歌《浪漫曲》（Romance）的启发，原诗充满了浪漫与梦幻的色彩，乐章从中汲取灵感，展现出浪漫、抒情的音乐风格。
IV. The Coliseum：该乐章的创作与爱伦·坡的诗歌《大竞技场》（The Coliseum）相关，诗歌描绘了大竞技场的宏伟与沧桑，乐章通过音乐试图呈现出那种历史的厚重感和宏大的场景。
V. The Raven：这一乐章直接取材于爱伦·坡最为著名的诗歌《乌鸦》（The Raven），诗歌中那只神秘的乌鸦以及它所带来的忧郁、绝望的氛围在乐章中得到了生动的展现。叙事诗《乌鸦》是美国诗人埃德加·爱伦·坡的经典之作，创作于1844年，于1845年正式出版。
Contents
01 Slatkin, Leonard - Endgames 12'45
斯拉特金,伦纳德 终局
Jeffery Zook (piccolo),
Sharon Sparrow (alto flute),
Monica Fosnaugh (cor anglais),
Laurence Liberson (clarinet in E flat),
Shannon Orme (bass clarinet),
Marcus Schoon (contrabassoon)
Leonard Slatkin/Detroit Symphony Orchestra
02-06 Slatkin, Leonard - The Raven [26'29]
斯拉特金,伦纳德 乌鸦
I. The Sleeper 5:02
沉睡者
II. The Bells 5:34
钟声
III. Romance 1:58
浪漫曲
IV. The Coliseum 4:23
大竞技场
V. The Raven 9:32
乌鸦
Alec Baldwin (narrator)
Leonard Slatkin/Manhattan School of Music Symphony Orchestra
07 Slatkin, Leonard - Kinah 13'02
斯拉特金,伦纳德 悲歌
Kinah 这个词在犹太文化等语境中有哀悼、悲歌的意思。
Leonard Slatkin/Detroit Symphony Orchestra
08 Slatkin, Daniel - In Fields 03'57
斯拉特金,丹尼尔 田地里
Leonard Slatkin/Manhattan School of Music Symphony Orchestra
Felix Slatkin (violin)
Eddie Dunstedter/Army Air Forces Training Command Orchestra
10 Haydn - Cello Concerto No.2 in D major, Hob.VIIb:2 (Op.101)
海顿 大提琴协奏曲第2号 D大调-III.回旋曲 节选,Hob.VIIb/2
III. Rondo (Arr. E. Korngold for Cello & Orchestra) 02'27
Eleanor Aller (cello)
Erich Wolfgang Korngold/The Warner Bros. Studio Orchestra
12 Dvorak - Symphony No.9 in e minor, Op.95, B.178, "From the New World"
II. Largo (arr. C. McTee and F. Slatkin for orchestra as Wistful Haven)
德沃夏克/麦克蒂 眷恋的港湾-改自德沃夏克交九(新世界)第2乐章 广板,Op95,B178 03'16
13 Slatkin, Felix - Carmen's Hoedown 02'36
斯拉特金,费利克斯 卡门的土风舞曲-自比才的卡门
Leonard Slatkin/Manhattan School of Music Symphony Orchestra
02-06 Slatkin, Leonard - The Raven [26'29]
斯拉特金,伦纳德 乌鸦
V. The Raven 9:32
乌鸦
诵读（旁白）
Edgar Allan Poe - The Raven
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door—
"'Tis some visitor," I muttered, "tapping at my chamber door—
Only this and nothing more."
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
'Tis the wind and nothing more!"
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient raven wandering from the nightly shore—
Tell me what thy lordly name is on the night's Plutonian shore!"
Quoth the raven "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did out pour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered "Other friends have flown before—
On the morrow he will leave me, as my hopes have flown before."
Then the bird said "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his hope that melancholy burden bore
Of 'never—nevermore.'"
But the raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclined
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the raven "Nevermore."
"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!"
Quoth the raven "Nevermore."
"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the raven "Nevermore."
"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the raven "Nevermore."
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
韵律节奏：采用了独特的五行一组的诗节结构，每节的最后一行为 “nevermore”。运用大量的内部押韵和结尾押韵，如 “Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore”，通过重复的声音模式，创造出强烈的节奏感，增添了诗歌的音乐性和催眠效果。