这是我听过迄今为止我个人认为最好的马勒第三录音 马勒第三的录音非常的多,且不说伯恩斯坦,海丁克那批经典。今天只说新录音,在新的录音里,用DSD录音的版本就非常多,但是我仔细对比过MTT指挥SFS,David Zinman指挥Tonhalle Orchester Zürich的版本,几乎是每个乐章每个乐段去仔细对比,发现这个版本明显好过别的几个录音。
It was thoughtful of Major League Baseball to schedule the Cardinals' sudden-death wild card game against the Atlanta Braves for 4 p.m. Friday. That way, the contest ended well before the St. Louis Symphony Orchestra's 8 p.m. curtain; fans could enjoy a winner from each of the city'...
八十七的祖宾梅塔和三十六岁的马勒 八十七岁的祖宾·梅塔端坐在指挥台正中,像一个入定的老僧。观众注意到,他的面前空空如也,连一页总谱都没有。他的名字曾经是买打口碟的古典乐迷的最爱之一,在海淀五道口的地下碟店里和碟贩的腰包中流转。小贩们不听古典音乐,可是走进宿舍,把巨大的提包在床上一摊开,就知道他的...
Claudio Abbado has now recorded the Third Symphony for DG for a second time (471 502-2). His first version was studio made in Vienna and notable for its grasp of detail, even though I always felt there was something crucially missing in the direct communication department. Something that a ...
movement is bound to prove controversial, for it’s even faster than the buoyant zip of James Levine’s 1976 RCA recording. To be sure, it is a calculated, daredevil stunt, but functionally it punctuates the fact that Part One – this vast half-hour long symphony...
Mahler: Symphony No. 3 In D Minor - Horenstein的乐评。布鲁诺·瓦尔特有一次去探望正在隐居创作的马勒时,被山间的美景吸引而伫足流连,可马勒对他说”您不必看了,我把它们都写下来了“。他所说的作品就是这部第三交响曲。 这也许是交响乐历史上最大篇幅的作品,仅第...
在买到这套CD之前,我听马勒一直处于“打游击”状态,没有完整地欣赏过某一位音乐家的全套演绎。伯恩斯坦的第五,阿巴多的第二、第五,克伦佩勒的第二,捷杰耶夫的第八,以上克伦佩勒的第二最能触动我的神经。可以说我与马勒一直保持着一种若即若离的“暧昧”关系,而这套CD则彻底打破了造成这种关系的“隔阂”。
Mahler symphony No.9:A review 当然,这种解读是一种主观感受的文学化呈现。如康德所言,艺术是非概念的合目的性。正是艺术的非理性特征,让我们对艺术的解读永远是感性的,隐喻的,甚至说艺术的。这种非理性是创作手段与听者感知之间的一团迷雾。专业人士可以通过种谱分析分析曲子的调性与结构,认真的听者可以为作品...
In many respects Bernstein’s performance with the Concertgebouw Orchestra of the Symphony No. 1 is the jewel in the crown among this whole collection. The combination of the well balanced recording, beautiful playing, and spontaneous symphonic growth is particularly compelling. Rarely can the opening...
Symphony play well and idiomatically it's their contribution which lets him down, especially in the last movement where Horenstein's demands stretch them too far. The recording is also boxy and close-miked. Fortunately, Horenstein recorded the work again, this time with the London Symphony ...