原帖由 yangmetal 于 2010-12-13 05:45 发表 后面还有hamburg现场，dg出的……晚期的那些音乐会，跟早期的carnegie不能比的…… 不过我觉得 晚期音乐会中霍展现的顽童气质蛮招人喜欢的
原帖由 zsmzsm 于 2010-12-13 07:11 发表 http://bbs.headphoneclub.com/images/common/back.gif
不过我觉得 晚期音乐会中霍展现的顽童气质蛮招人喜欢的
对！我甚至觉得他早期那种疯玩并不怎么耐听，但晚期的老顽童实在是越来越可爱。
晚期的霍洛维茨，无疑更可爱些。境界也更高。
呵呵，我都喜欢，早期的当看大片。晚期的当看温馨文艺片。;P
:victory:
霍老的风格只此一个人，个性鲜明总是好的～
就好比gould也是很个性的 :lol
最近买的87年汉堡现场录音，ndr的母带，08年才第一次发行。内页写的非常精彩，忍不住打上来，我觉得这段是对他晚期艺术的最佳总结。
On 21 June 1987, at half past four in the afternoon, Vladmir Horowitz stepped gingerly on to the concert platform of Hamburg’s neo-Baroque Musikhalle, where a year earlier he had celebrated a triumphant return to the Hanseatic metropolis. In more than one sense this most celebrated pianist of the 20th century was closing the circle on that rainy Sunday afternoon. It was in Hamburg in 1926, the year of his earliest appearance outside of Russia, that Horowitz first entered a studio, recording Welte-Mignon piano rolls of music including Chopin, Liszt and Schumann. Now it was Hamburg – a city in which, as he told an interviewer, he wouldn’t mind residing (despite having to don a pullover in mid-June for the first time in his life) – where the 83-year-old pianist was making what would prove to be the last public appearance of a seven-decade-long career, though that eventuality could hardly have crossed the minds of us sitting in the audience.
The recital was taped by North German Radio (NDR), but until now it lay in their archives virtually untouched. The erstwhile Tastenlowe presented his 2000 hamburg listeners with works – mostly shorter ones – by the composers on whom he’d been concentrating his energies in recent years: Schubert, Schumann, Chopin, Liszt and – his new great love – Mozart.
Amsterdam had been first to hear his, Horowitz’s final program, on 24 May. A week later he repeated it in Vienna – revisiting the city after an absence of 51 years. Die Presse’s reviewer predictably, found his playing “incomparable” – the critical sentiment prevailing since Horowitz’s return to Europe two years earlier. “His age gives him the right and the freedom to shape the music however he feels is right. The listener does not even think to question whether his Mozart, for example, conforms to our current notions of style. The subjective truth of his playing is stronger.”
When Horowitz played the program again in Berlin on 7 June, critic Wolfgang Schreiber noted that he “can still sing like nobody else”, adding: “He no longer has the power he once had, but he remains irresistible.” It was this intimacy, a refreshing compensation for diminished physical strength, that defines Horowitz’s late manner – and nowhere more so than in the Hamburg recital captured here, given a fortnight after his last Berlin appearance. As the pianist’s biographer Harold Schonberg put it, Horowitz was “wise enough to realize that he could no longer be the thundering virtuoso … The celebrated electricity was still present, but not with the voltage of previous years. Instead there was gentleness, an infinite variety of sound and flexibility of rhythm, a singing color world in which conception, ear, feet, and finger worked together in perfect, artistic harmony. It was a new Horowitz and if he was not as stunning as before the rewords – as critics all over the world were quick to point out – were perhaps greater.”
And yet the new Horowitz was also still theold one, weaving a unique spell by his wonted means: “The most important thing,”he once disclosed, “is to transform the piano from a percussive instrument intoa singing instrument … a singing tone is made up of shadows and colors andcontrast. The secret lies mainly in contrasts.” Writing in the HamburgerAbendblatt, Carl-Heinz Mann characterized the fundamental tone of Horowitz’s1987 Hamburg recital as “a triumph of quietness, gentleness, discretion out ofwhich the delicate but clear accents were set in even stronger relief. In thewhole first half of the recital he barely reached a single mezzo forte, letalone exceeded it. But within this dynamic range, uncommonly narrow for amodern concert grand, there was a wealth of nuances and intermediate shadings.”
From hamburg, Horowitz returned to NewYork. He would live for two and a half more years, and, as Schonberg notes, hewas even intending another return to Europe. It never materialized. Horowitzsuffered a fatal heart attack at home on 5 November 1989. Tributes from allover the musical and non musical world poured in, among the most perceptive andtouching of them by Murray Perahia, who was at Horowitz’s home on the day hedied: “He always counseled me to be freer,” said the distinguished American pianistand Horowitz friend, “but he was upset when people tried to imitate his style.He didn’t like the terms Classical or Romantic. He simply said to play from theheart.”
这段文字里面非常精彩的描述了当霍老不复当年之勇，速度力度上不再有雷电之状时所达到的境界。
犹如一幅柔和的点彩印象派油画，不似伦勃朗般的夸张明暗对比。但细部跳跃的阴影和变化多端的色彩同样抓人和震撼！甚至是greater！
红字那些叙述真是精彩
杨版听过1986年老霍的柏林音乐会录音吗？SONY出的，也算是他晚年重要的现场录音，代表他这个时期的特点。有2CD的容量，一个老人，连续弹一个半小时，够厉害的。
