mysophobia 潔癖

Nastiness Diagnosis. Anthropology. Religion. Gender. Justice. A Personal Notepad For the General Public.


三月五日晚間BSO曲目:Rachmaninoff + Stephen Hough + BSO + Alan Gilbert ,這豪華的陣容實在太過癮了,剛好我就坐在可將鋼琴一覽無遺的位子。Hough的鋼琴無懈可擊,只能用完美來形容,表演結束的最後一個音符就爆起歡呼掌聲,全場起立鼓掌長達十分鐘之久,叫聲不斷。可以看得出來,老伯伯老阿嬤(音樂會的常客)中場休息時都樂不可支。


想不到帕格尼尼狂想曲這種有點譁眾取寵與老調的曲子現場觀賞如此震撼。鋼琴家少有片刻休息之虞,滿頭大汗還特別準備了一條手帕在鋼琴上每有時間就擦汗。指揮家也領導地可圈可點,據說就是即將擔任紐約愛樂的史上最年輕樂團總監(42)。當晚的首席是位女性,還是我第一次在BSO演出中看到的首席女性音樂家。Stephen Hough不愧是彈奏拉赫曼尼諾夫的高手啊。看得我嘖嘖稱奇,目不轉睛。慢奏的部分清晰有條不紊,快奏之處流暢有勁不拖泥帶水,爆發力又很十足,但是在很多時刻卻冷靜戲謔地推拉著音符。在高潮時刻手指已經群魔亂舞時樂音還是如行雲流水一般,真的是嘆為觀止。
前面放一首沉穩的Tone Poem後面放一首燦爛輝煌易懂催情的Concerto真是太美妙了。
In the meantime, a bit of Gilbert’s flair for programming with rich contrasts was on display last night in Symphony Hall, where he led the Boston Symphony Orchestra in three early-20th century works that were all written within 30 years of each other yet seemed to hail from completely different universes. The evening opened with an alluring performance of Sibelius’s tone poem “Night Ride and Sunrise,” yet the strongest contrast came with the final two works: Rachmaninoff’s ubiquitous Rhapsody on a Theme of Paganini and Ives’s epic and rarely heard Fourth Symphony.
Rachmaninoff was ultimately a late-Romantic composer marooned in the 20th century. “I understand nothing of the music of today,” he commented in 1933, the year before he wrote his Paganini Rhapsody. In some of its structural details you can feel Rachmaninoff working hard to sound innovative but his piece inevitably became best known for its moments of soaring lyricism and old-fashioned keyboard brilliance. The British pianist Stephen Hough last night gave it a supremely poised and thoughtful reading that did not shy away from the work’s external glitter but also seemed determined to spotlight its textural subtleties and moments of quiet poetry. He did so extremely well.
Rachmaninoff once wrote that “a composer’s music should express the country of his birth, his love affairs, his religion, the books which have influenced him, the pictures he loves. It should be the product of the sum total of a composer’s experiences.” Ironically, few pieces answer this call more fully than Ives’s visionary Fourth Symphony, in which the composer seems to have united all of the disparate musical and biographical threads that run through his other works. It was written mostly between 1909 and 1911 and yet it is still a piece that sounds bracingly modern today.
It calls for chorus and massive orchestral forces which Gilbert managed artfully last night, with the aid of an assistant conductor (Andrew Grams) who helped the musicians navigate the multiple tempos. The work is a giant palimpsest with musical layers piled high on top of each other, at times building to a kind of glorious sonic anarchy. Gilbert chose a spacious pacing and found clarity and structure within the chaos. He drew a beautifully rich tone from the strings in the third movement fugue, and traced the broadest of arcs in the spiritually searching finale. At the very end, the music created just the desired effect: it seemed to evaporate into a clear night sky.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s


This entry was posted on March 7, 2009 by in 【音樂性制約術Musique】 and tagged .
%d bloggers like this: