本帖最后由 小白 于 2014-10-29 20:52 编辑
前面有提起波兰钢琴家Zimerman前后录过两次勃拉姆斯的2首钢琴协奏曲，第一次是伯恩斯坦指挥，第二次是Simon Rattle指挥。按理说第一次录音时Zimerman才二十几岁，第二次录音要成熟多了。不过哪次好呢？读读下面的一篇外国乐评是颇有意思的，作者是圈内有名的David Hurwitz，classicstoday.com的主笔。
It’s fascinating, then, but not at all surprising, to compare this dull, prissy performance to Zimerman’s first recording of the work with Bernstein, which is three minutes slower (54 minutes) than this one but everywhere sounds quicker, more dramatic, and more alive to the music’s expressive turbulence. Take the opening tutti: Bernstein maintains the long line, knows where the music is going, and in the long transition to the second subject sustains the rhythmic tension. Rattle does just the opposite: he hammers away at the opening excitingly, if arguably too heavily, then lets every ounce of energy evaporate as he tip-toes through the softer passages. Zimerman’s initial entrance under Bernstein is a model of what it should be: noble, simple, full of pathos, and gaining in tension as it proceeds. For Rattle, he’s mannered, full of little hesitations that further prevent the necessary shaping of the music into meaningful sentences and paragraphs. These problems turn out to be emblematic. The start of the slow movement never has sounded so inexpressive, so lacking in warmth and lyrical sensitivity, and with Zimerman fussing about every phrase the result is interminable. In the finale, Rattle and Zimerman sound like two little old ladies locked in a life or death struggle over a game of canasta. They don’t play the music, they poke at it, with kid-gloves. Yes, this movement is audibly based on the finale of Beethoven’s Third Piano Concerto, but Brahms doesn’t need this “faux-classical” gloss. Come to think of it, neither does Beethoven. Compare Zimerman’s phrasing and use of accent under Bernstein to his mincing, emotionally neutered approach under Rattle, never mind the conductor’s near total lack of identification with the idiom. 简单说他认为Zimerman的第一次录音要自然得多，和Simon Rattle的录音反而造作、沉闷、不自然。包括Rattle的指挥也不如伯恩斯坦。
我并非认为Hurwitz先生说的就是绝对真理，但仍觉得Zimerman的两次录音，各有千秋。二十多岁时和伯恩斯坦的那次合作真是给人印象深刻的，录音也很好，钢琴的泛音特别有光泽感。 | 
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发表于 2014-10-13 12:36:13
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