[樂聞] 20大交響樂團 阿姆斯特丹摘冠 3
5 Chicago Symphony Orchestra
I have been playing with the Chicago Symphony for such a long time that I feel
like a member of the family. When I performed with them for the first time I
was 26 years old and they couldn't have been nicer--they are just adorable
people. As a student I had often heard them at Carnegie Hall under Solti, so
playing a Liszt concerto with him conducting was like a fantasy come true.
But I have to say that each time I play with them it's special. Last year I did
a Brahms concerto under Haitink, and that was amazing. I am still at the point
where I have a kind of thrill when I get to go on stage with a great orchestra,
and they are icredibly talented, a very exciting group of players. I don't
think I have ever heard more brilliant Strauss and Mahler than I have heard
in Chicago.
As an orchestra they have this gleaming brass sound that I think they are
justly famous for. Some people criticise them for failing to balance that
incredible brilliance, but I believe they are an orchestra that responds to
what you ask them to do.When Solti was conducting them, he encouraged that
brilliant sound , whereas when I heard them under Barenboim they sounded like
a fantastically rich and deep European orchestra, so I think they are capable
of preety much anything. Chicago, like all great orchestras, have kind of pride
in themselves, regardless of who is on the podium, and this is an important
element in maintaining a high standard.
by Emanuel Ax
Pianist Emanuel Ax will next play with the Chicago Symphony in April 2010.
4 London Symphony Orchestra
The LSO stands out from all the orchestras I've worked with because of its
totally unique work ethic.The players are always "on", whether it's 9am or 9pm,
whether they've been working flat-out all week or whether they've just come
back fromtheir holiday. You start work and they'll immediatelylight up in a
way I 've never experienced anywhere else.
The LSO style is well known-- there's snappiness and vitality, a pricision
and a drive, and they give their all, especially when it comes to volume.Where
does it come from? Well,they certainly have extraordinary versatility: they can
play anything! But there's an attitude that goes with that-- they have the
same openness to every project that comes their way. They have the vocabulary
to be true to everystyle of sound that's required. They're constantly adapting.
They also benefit from great management, people who share with the musicians
a curiosity about new things, and don't shy away from new challenges.And as
the players are involved in many of the dicisions-making processes, they choose
to work with people who share their philosophy. They're scrappers too--they
love putting things they tackle is colossal! You always get the sense that
they're there because they want to be--there's never any sense of grind. And
that contibutes to the immediacy of the experience.
by Marin Aslop
Marin Alsop regularly guest-conduts the LSO
3 Vienna Philharmonic
It must be admitted that the Vienna Philharmonic, for all its deserved fame,
does not always sound like the best orchestra in the world. It plays too many
concerts, for one thing, and too many of those are with conductors unable or
unwilling to bring the best out of the players. Sometimes, as when Vaelry
Gergiev comes to visit, they can even sound brutal, like a sounds boring, as
long as maestri such as Daniel Harding address the orchestra's possibilities
without any apparent artistic concept.
But-- and it's a very big but-- when the right conductor is before those
players, it is a different matter entirely. When cultivated and insipring
interpreterssuch as Christian Thielemann, Franz Welser-Most or the fabulous
Bertrand de Billy( in opera as well as in concert) work with a sense of its
deep well of musicality, the Vienna Philharmonic can sound like no other
orchestra.
As it benefits from its daily activities in the opera house, the orchestra
is able to form the smoothest transitions, the finest modulations of sound.
That makes it incomparable, at least from time to time-- whenever it exercises
its option to be so.
by Wihelm Sinkovicz
the classical music critic for Die Presse
this article is extracted form the magazine "Gramophone" December 2008
--
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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※ 編輯: endor 來自: 86.2.188.78 (11/25 01:05)
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