王府井有两个卖古典盘的店,外文书店是一个,好长时间没有新货,新开张的一家在新东方地下,有很多。老产品如福特文革了的老柴第六,蒙德尔松的小提琴协奏曲,梅纽英拉琴。新产品是一套姆拉文思基的老柴,从第四开始,是很经典的曲目。还有卡拉样三十年代一些指挥作品,如柴六等。索尔蒂的马勒,西盟。拉特的马勒第二等。拉特的买的很贵。但是没有找到他的马五,稍稍有点遗憾。
鄙人购得的是约胡姆指挥布鲁克纳几个交响乐。很好。尤其是第七。他的老布很典雅,声部配器清爽分明,极为学院派风格。约,我想还是超过其他指挥的布鲁科纳。他用心太转,不负有心人啊!
但是最好的,令我极其感动的,是瓦尔特指挥的贝多芬。是所谓高清晰度版(hi gh definition sound/sbm-super bit mapping).日本索尼公司再生版。没有听过的乐迷一定要买来一听。我的感觉是,以前所听任何一款,都没有这个版的立体感和动态效果。在贝三的大小调主题对比,行进的时候,一般而言,人们是听直线的韵律和速度感,但是这次,你只要仔细听,就会发现被横向的对位和和声,复调的织体网络所触动。
往往是副部主题行进的时候,低声部还明显保持着主部的重复,在时间上形成一个位差和对比,或者说形成乐曲的回忆层次;是非常特殊的感觉。伴奏和对位的特殊配器效果,在无论是第二主题的循环,还是第一主题的疾奏中,都有其他附属乐器的声音众星捧月般的出现,且很清晰,质感。尤其是结尾前,那个疾奏的管乐的拖长的4----伴随着主部的发展,真是惊天动地而来,惊天动地而去。
诸如此类的细节不胜枚举,是极大的听觉享受。
这个效果一直持续至终结。
瓦而特调动声部的手法真是超人一等。不知道是这款录音效果奇佳,还是鄙人少有到现场分辨之的机会。
他的风格很和善,有点介乎于老克莱勃和伽德纳的快速和福特,克伦贝勒的慢速之间。后来的卡和阿巴多,好像是汲取了这样的经典风格。但是他的力度比维恩家特纳等人的老古典要强劲有力。
这些,我觉得不太重要;重要的,还是他的配器的超度清晰感。这种唱盘我还是首次听到。小日本技术上煞是厉害。
- posted on 08/15/2004
自立兄好评,昨天正好借了一盘瓦尔特指挥温哥华乐队的彩排片断,勃拉姆斯第
二:一乐章四乐章。音乐终结时的辉煌,叹为听止,实有天堂之光!
中间有一长段谈话,不可多得。我注意到,他高龄时的气质神态,和采访他的人
比起来,不可同日而语。(此无关于模样)
他谈到:莫扎特音乐的“美”,美比悲剧更能让人落泪,因而他接触莫扎特晚一
些。
(当然我感到他最心灵的东西似乎是勃拉姆斯。。。勃拉姆斯也耐听!)
谈到无调性音乐,他类比于无基本语法的语言,说得很有力。(既无调性,我想
只有十二个音也怪可怜的,何不来他个音律革命,革到底,也就象凯吉那样此地
无声胜有声好了!)
谈到爵士音乐,他觉得听之会降低他的格调。如是说:爵士乐最多类比于绘画中
的卡通,但绘画艺术的殿堂卡通毕竟不成门窗。
还讲了好多。。。我再去看一遍,这里转一些英文介绍:
====
"If he is a man with a warm heart and is honest and sincere, the musicians will listen to him and accept what he says even if they are more experienced." So says Bruno Walter during a conversation with his friend Albert Goldberg. The conversation is fascinating, partly because of historical anecdotes in abundance plus the conductor s views on modern music and the behaviour of audiences and music lovers. Given his views, I hate to think what he would have made of lovers of Classic FM.
The musical part of this Video consists of Bruno Walter, in the final years of his life, rehearsing the Vancouver Festival Orchestra in the first movement of Brahms Second Symphony, and after the interview, the same orchestra being rehearsed in the finale. Apparently it was Walter s first rehearsal with the orchestra, and it is interesting to see how quickly he starts to build a relationship with the ensemble. It could be, however, that it took a lot longer, and the effect has been enhanced by judicious editing. Once he gets going, the overriding quality is that of a singing quality to the playing.
His rehearsing technique is that of working with his group, and persuading them, bit by bit, that the conductor s way is the right way, and keeping on at the phrase until he is totally satisfied. The whole orchestra is seen to respond positively, until Walter is satisfied with the results.
As with many of these rehearsal discs, I miss the opportunity of hearing the complete work once the rehearsals have finished, but like many others of this type, we only get the rehearsal. It is probably to do with contractual/royalty issues, and it is worth losing the complete work to be able to eavesdrop on the creative part of a performance. The original audience must have been served up a treat.
In the "interval", we have Walter, talking to his friend, Albert Golberg, about music in general and Bruno Walter in particular. Areas covered are his early life, learning his art in the opera pit, his early experiences with Mahler, his departure from Germany at the start of the war and how he came to settle in the U.S. The conversation progresses quite innocuously until Golberg asks Walter what he thinks about modern music. There follows a strong, highly opinionated description of modern music and how Walter reacts to it.
Fans of twelve tone music should stop the Video here, as he has found absolutely no sympathy with this type of music. He has chosen his repertoire from experience, and is switched off from a large body of music and expounds his reasons why clearly, concisely and illuminatingly.
From modern music, Walter moves on to music in general and music lovers. Here he expects listeners to be totally immersed in the music and to concentrate completely on what is happening. He is generally negative towards radio and TV, although he recognises that music appreciation had expanded considerably as a result of recorded sound. What he is keen on is the playing of complete pieces and not on bits and pieces.
The notes are short but very informative. This is a disc that I will return to frequently.
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