[樂聞] 20大交響樂團阿姆斯特丹摘冠 4

看板clmusic (古典音樂)作者endor (蕭邦式卡門)時間17年前 (2008/11/25 02:17)推噓3(3推 0噓 0→)

留言3則, 3人參與討論串1/1

2 Berlin Philharmonic Contrary to popular mythology, I don't think there is any such thing as a recognisable orchestra sound. However, you can recognise an orchestra by its way of playing. I have surprised myself on a number of occasions, turning on the radio in the car or in the kitchen, hearing an orchestra mid-flight and immediately knowing that it's us.It has to do with the priorities of the players--we Berlin Phil muscians play passionately and emotionally, throwing ourselves gung-ho into the music -- and that is the evident even across the airwaves. I have been a member of the orchestra for 23 years under three music directors (Herbert von Karajan, Claudio Abaado and Simon Rattle), and during that time we have changed and deleveoped. Indeed, it would be a sad case if we had failed to do so. I think any institution that wears its traditions proudly on its chest must necessarily be aware that tradtion is a living process. A performing tradition is ot to be mummified, like a fly in a piece of amber or an exhibit behind glass in a museum, but instead is something that lives. By definition, it must evolve and adapt. One of the pricipal points we addressed when considering where to take the orchestra after Abbado was whether we wanted to move forward into the 21st century, or back into the past. Abbado had already done the pioneering work. When he took on the job after Karajan he was stepping into immensely big shoes, but he managed to acheive a pretty radical revolution, which influenced orchestra throughout the world. He would take fairly traditional programme and present it in a certain way, causing the audience to sit up, take notice and really clean out their ears. And within a fairly short space of time other orchestras were attempting more daring programmes,too-- as if they had simply been waiting for someone to take the lead.Now we have Simon Rattle, we do perform agreater number of contemporary works. Many musicians around th world haven't quite come to terms even with the 20th century yet, but Simon is a conductor for the 21st century. As a musician,if I had been reduced to playing nothing but Brahms and Beethoven --magnificent works as they are-- that would be a very thin diet. I have enjoyed the journey and adventure with this orchestra immensely because my musical education has benefited consistently year on year by pushin the envelope. It's a tremendously rewarding and uplifting working environment-- not the kind of high-pressure situation where you worry everyday whether you will be good enough. I certainly don't feel there is a Damoclean sword over my head, but it's none the less a challenging environment. In meeting these challenges we orchestral musicians experience greater satisfaction and are able to raise the bar again-- but it does require total commitment from every single player. by Fergus McWilliam horn player for the Berlin Philharmonic 1 Royal Concertgebouw Of courseI knew the Royal COncertgebouw from records long before I ever conducted them. I loved the early Mengelberg recordings and later those with Bernard Haitink. Standing on the podium before the musicians, I always appreciate just how special they are. Their approach to music-making goes far beyond questions of sound; it is so profound, so deep, atmosphere, they make you feel that you have entered a very special world. they have an understanding of each composer like an actor understands his roles --they interpret, and shift into the appropriate character. It comes from a hunger to comprehend what is behind the notes. Notes are after all only signs, and if you only follow the signs they won't get you there. Yet very few orchestras in the world have the quality of knowing the depth and the character of the music. We have many technically good orchestras these days. But this musicial intelligence, allied to the orchestra's very personal sound, makes the Concertgebouw stand out. In rehearsals the players talk with you on a fascinating level about interpretation. So often rehearsald can be simply about organisation: you are expected to come in and stay only ,"Here a little louder, here a little softer, "which is all very primitive. The Concertgebouw players expect something extra from you, an interesting interpretation, illuminating ideas, fantasy. If you offer them that, they play with a passion as though for a new piece rather than awork they have played a million times before. Yhis is what the payers want-- that higher level, when you forget about the notes and play the image,the idea. All the truely great orchestras boast an individual sound, which is far from the norm today. when I took over the COncertgebouw, journaalists asked me what I would change. I said,"Nothing for the moment. It's my task to find out their special qualities and preserve them. Then if through a natural process my own individuality adds something-- and theirs to me--that will be fine"I would never set out to change the Concertgebouw. We continue to learn together. by Mariss Jansons cheif conductor of the Royal Concertgebouw. top five recordings for the best five: 1 Royal Concertgebouw Orch/ Mariss Jansons R Strauss An Alpine Symphony. Don Juan RCO Live RCO08006(A/08) 2 BPO/Simon Rattle Brahms Ein deutsches Requiem EMI 365393-2(5/07) 3 VPO/ Georges Pretre "New Year's Day Concert 2008" Decca 4780034 4 LSO/ Valery Gergiev Mahler Symphony No 6 LSO Live LSO0661(6/08) 5 Chicago SO/ Bernard Haitink Shostakovich Symphony No 4 CSO Resound CSOR901 814(11/08) All the article is made excerpts from "Gramophone" December 2008 -- 所以其實這個票選應該是指音樂家最想待的樂團(?) -- 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 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 86.2.188.78

[樂聞] 20大交響樂團 阿姆斯特丹摘冠 4

[樂聞] 20大交響樂團阿姆斯特丹摘冠 4