브람스 바협에 대한 영문 리뷰들...

전 여러분들이 영어에 아주 능통하시리라 굳게 믿습니다... 제가 무지 딸려서 도저히 번역은...그냥 대충 의미만...^^ --------------------------------------------------------- Classical Music CD Review (이건 아마존에서 봤던 평이랑 동일하더군염) Toscanini has been called the exact interpreter of what's written in the notes, Furtw&auml;ngler the discoverer of what's written between the lines. Simon Rattle attempts to combine both: strict adherence to the score with an unfettered emotional response to the music. In the Fifth Symphony, guided by the latest scholarship, he uses Beethoven's own scoring rather than later emendations, which produces unusual transparency as well as some surprises. For example, since Beethoven' hand-horn could not negotiate key changes fast enough, he gave the exposition's horn solo to the bassoon in the recapitulation; today's conductors let the modern valve-horn play both passages. Rattle goes back to the bassoon, which, though authentic, sounds so puny that one feels sure Beethoven would have approved the change. The first movement is very fast and stormy, the second strict and inflexible, the third unyielding in rhythm but full of swells; the Finale begins with a crash. This live recording displays all the qualities of the orchestra, as well as its amazing adaptability to the idiosyncrasies of Rattle's style: the unbridled impetuosity, all-out passion, extreme tempi, and dynamic contrasts that alternate between inaudible and ear-splitting and result in some rough, almost raucous playing. In the Brahms, too, excess prevails. Chung is a wonderful violinist with a brilliant technique and a beautiful, austere, radiant tone. Her playing is inherently noble and flexible, with lots of character and expression‎. In this performance, however, she exaggerates changes of tempo and dynamics; the chords are scratchy, the liberties not spontaneous enough. But the lyrical passages are lovely, the Finale is a real dance, and the interplay between soloist and orchestra is splendid. - Edith Eisler --------------------------------------------------------------- The Portland Phoenix One misfortune in Boston’s otherwise rich musical life has been the recent absence of Simon Rattle from the BSO podium. The split seems to have been acrimonious, so chances are we won’t catch sight of him until his rst tour as music director of the Berlin Philharmonic. This release of two live performances gives some indication of how he’ll handle the most standard of standard repertoire with one of Europe’s oldest orchestras. The Fifth Symphony is a disappointment. Although the interpretation reflects Rattle’s interest in period-instrument style, it’s not clear why he’d want such a reading from an orchestra with Vienna’s tonal riches. The sound is raw and strident — particularly in the horns and timpani — and the reading works only in fits and starts. The first movement is suitably powerful, and the opening of the Andante is beautifully played. But the finale sounds abrasive rather than triumphant (especially the shrill piccolo), and Rattle’s tendency to overstress details causes the music to lose its collective momentum. This is no match for Carlos Kleiber with the same orchestra. The Brahms is another story. Chung has always been an openly emotive and expressive performer, and here Rattle and the Vienna — this time back to their customary gorgeous sound — match her step for step. The result is an enthralling, almost violent reading. The first movement is full of drama but never loses sight of the musical architecture. The second is perhaps short on repose, but Chung and Rattle tear into the finale, capturing its inherent Gypsy wildness. The result is well worth hearing, though not for the faint of heart. As for the symphony, it’s reported that Rattle will record the entire Beethoven cycle in Vienna next year, so we can hope for better results then. — David Weininger