[樂聞] 20大交響樂團 阿姆斯特丹摘冠 2
9 Budapest Festival Orchestra
For an orchestra that is only celebrating its 25th birthday this year, the BFO
has risen to the top with extraordinary speed. But then it's an extraordinary
set-up--a group of superb musicians who play with a passion and commitment
that beggars belief. The combination of Ivan Fischer, the orchestra's founder
and music director ever since, and these fine players has elevated music-
making to a level that astonishes and delights with equal measure. This is
not an ensemble in which the players fall into an easy routine-- they know that
theirreputation relies on their continuing to deliver at white heat at every
performance. Watching the BFO rehearse or record is like glimpsing chamber-
music-making on a big scale, each player deeply concerned about his or her
contribution to the whole. And in Fischer they have not a dominant ego, but a
facilitator or remarkable sensitivity.
by James Jolly
the editor-in-chief of Gramophone
8 Los Angeles Philharmonic
I tend to think of a grat orchestra as either one that has such distinctve
sonic personality that it sets itself apart, or one that is defined as special
by the repertoire it plays. With Los Angeles, it's probably the latter that
you think about. In his years at the helm, Esa-Pekka Salonen has vastly
broadened the scope of whta te orchestra plays. You are almost as likely to
hear them play a work by Steven Stucky as one by Beethoven.
So by now the LA philharmonic is famous for its excusions into contemporary
music. That gives them the ability to handle the technical demands of the
repertoire in an important way. It also means that they're very open to new
thoughts and ideas. So each conductor coming to that orchestra can place
his or her individual stamp on the music, as opposed to a default
interpretation that the orchestra provides. If, for instance, you go to conduct
the Vienna Philharmonic in a Brahms symphony, it's more than likely that you'll
get the Vienna Philharmonic's performance of that Brahms symphony. It's not
like that with LA.
Thier new hall is also a vital factor in their success. You can't be a truly
great orchestra unless you have a hall that gives you an environment in which
to be unique, either in the repertoire that you choose to play or through the
kind of sound you creat. That hall may not be everyone's taste, but in point
of fact Disney Hall has given this orchestra a real chance to bloom. Thay can
do things thay couldn't do before because they were limited in terms of stage
space-- and they can do new things sonically because the hall in such more
conductive to a wider sonic palette.
I xpect Gustave Dudamel's arrival as chief conductor to continue the good
times , and his upbringing in Venezuela will help him. He'll probably introduce
concepts he's grown up with, trying to make music ever more a part of the
community. And he can help the orchestra make a connection with Los Angeles'
large Hispanic population, a new audience that maybe hasn't yet been fully
reached out to .
by Leeonard Slatkin
the principal guest conductor of the Los Angeles Philharmonic Orchestra
between 2005 and 2007
7 Cleveland Orchestra
In refinement of tone, impeccable intonation, ensemble tautness and the sheer
warmth of sound, the Cleveland Orchestra is the Concertgebouw and Vienna
Philharmonic practically rolled into one.America's so-called European orchestra
, it was made great by George Szell, an Old World autocrat, in the years
following Second World War.No American-born music director before or after
Szell moved to Cleveland. Most of the major commissions these days come from
overseas. At the moment, Cleveland is a better place to find out what Oliver
Knussen, Mathias Pintscher or the young Austrian Johannes Maria Staud are up to
than New York.
But nothing, in fact, could be more American than Cleveland's orchestra. That
it remains one of the world's best in an economically struggling Midwestern
city is the Ameican can-do spirit in operation. Franz Welser-Most, who is in
his fifth season as music director, has his detractors.They call for a return
to 20th-century predictability. Welser-Most, instead, is moving Cleveland into
the 21st century through his questing interpretation and inventive programmes.
Nearly every week brings someting current or novelty from the past to the
elegant and intimate Severance Hall. Though an Astrian, Welser-Most has
demonstrated a restless curiosity about American music, including the maverick
tradition on the west, which is mostly ignored east of the Mississippi.
Even Welser-Most's detractors usually admit that his orchestra continues
regularly to prduce its trademark sound that's hard not to love. The orchestra
tours extensively and plays several weeks a season in Miami, helping out in
Florida's orchestra-deficient capital. And Welser-Most now has a contract
running through to 2018, which allows him the luxury of making long-term plans,
assuring a stability not to be found elsewhere in the orchestral world.
by Mark Swed
cheif music critic for the LA Times
6 Bavarian Radio Symphony Orchestra
Here is an orchestra that is not only very brilliant--it doesn't have any
weaknesses at all. They are enormously spontaneous and emotional performers,
playing every concert like it could be their last. They give everything, more
than a hundred per cent.
But the orchestra has a secret to its success. As a radio orchestra , all of
its concerts are recorded to the idea that they must be technically perfect
and unfazed by the presence of microphones- so, with the playing quality almost
a given, they also concentrate on interesting and involved interpretation.
They are trained to do both, which yields enormous results. In additon, they
play a lot of cntemporary music. That keeps them sharp; their sight-reading,
for instance, is phonomenal. For me, as a conductor, it's like driving a Rolls
Royce.The orchestra can cope with everything.
by Mariss Jansons
chief conductor of the Bavarian Radio Symphony Orchestra
All above is extracted form the magazine "Gramophone" December 2008
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後來一切都將沉靜了看著衣袂的翻飛我總是想起那樣荒涼而又久遠的年代因為我們的夢想
而有所堅持卻總是遺忘那青黃不接的諾言於是你走了只剩下我只剩下枯槁憔悴的容顏在好
些年後我也逐漸淡忘深深印記的圖騰什麼都看不見了什麼都將看不見了我偃臥在暗夜暈黃
的街燈下等待總以為那將是唯一救贖於痛苦的方法最終在失去意識時我於是如此深深祈求
願生時美如夏花死時靜如秋葉人雖無法控制生命長度卻可增加他的彩度如同夏花一樣美麗
φendor
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