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tingpianer
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发表于 2010-01-23 20:35
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  这是刚刚发表在美国Fanfare（号角杂志）上的碟评。这篇评论把陈萨的唱片与历史上诸多唱片进行比较，许多大师如霍洛维兹等认为原谱不够精彩，从而曾经对原谱进行改编。从陈萨的唱片开始，人们意识到以原谱演奏可以如此饱满，精彩。而其即使手不是男人的大手，也可以演奏难度极高的片段。评论最后说：有位朋友认为她演奏得像个男人，但性别性别主义者则反对这种说法，认为她一颗诗人的心在演奏。 Rachmaninov: 6 Etudes-tableaux / MUSSORGSKY, M.: Pictures at an Exhibition / A Night on the Bare Mountain (Sa Chen)PTC5186355827949035562Ronald E. Grames Fanfare, Jan-Feb 2010There is something about Pictures at an Exhibition that invites editing and transcription. Its melodic invention and vivid character—plus such oddities for a piano score as dynamic changes on held notes and 11 note chords—has attracted the attention of editors and arrangers since it was first published in an edition by Rimsky-Korsakov five years after Mussorgsky died. Later piano editions have returned to Mussorgsky’s original, but in the intervening years Pictures has become best known as an orchestral work, having been arranged many times, Ravel’s 1922 version being, obviously, the most famous if not the first. The work has also been arranged for chamber orchestra, organ, brass ensemble, bassoon quintet, saxophone quartet, jazz trio, synthesizer, rock band, and accordion trio, just to name a few. Given this state of affairs, and the late-Romantic style of many of its interpreters, it is hardly surprising that pianists, when they perform the original, exhibit few scruples about adherence to the score. A survey of several recordings, score in hand, makes the point. Horowitz all but rewrites large sections of the work and cuts the fifth Promenade, as Ravel did. Horowitz student Byron Janis makes the same cut, and does his own reconfiguring, especially of “The Great Gate of Kiev.” Richter, in his 1958 Sofia performance—a benchmark for many—is spectacular, but reckless with dynamics, rests, rubato, and tempo. The much-admired Pletnev is similarly virtuosic but willful, playing, for instance, whole sections undamped to create a resonating bell effect. Kissin does not do that, but is indulgent in rubato and tempo. Of all the recordings I used as reference, only Ashkenazy conscientiously attends to the letter of the score, but the clangorous early digital recording emphasizes his pounding of anything accented or fortissimo. Sa Chen, a young Chinese pianist who has placed in several major competitions—Leeds 1996, Chopin 2000, and Cliburn 2005—made a strong impression with her first major release on PentaTone, a warmly poetic but unmannered traversal of the Chopin concertos. What a relief it was to come to Sa Chen’s intensely felt but textually respectful performance on this disc. Far from diminishing the effect of the music, her sensitive approach enhances it. By maintaining an even pace in the “Promenades,” each carefully reflective of the tempo and dynamic, she emphasizes the walking rhythm of the shifting meter. Through lightness of touch and subtlety of rubato, she creates a pavane-like “Il vecchio castello.” “Bydlo” lumbers heavily and inexorably into the distance. “Tuileries” and “Limoges” sparkle at tempos swift but not so rushed as to preclude subtle shaping. Careful gradation of dynamics creates an ominous “Catacombs,” followed by an elegantly poised “Cum mortuis in lingua mortua.” “Baba-Yaga” and “The Great Gate” are appropriately frenetic and grand, massive but never pounded, just as Mussorgsky wrote them. Sa Chen does inevitably take some interpretive liberties, pedaling through rests occasionally, clipping note values elsewhere, elongating the ends of runs; but by clearly believing in the music, Sa Chen presents a powerful counter to Horowitz’s declaration that Pictures was “ineffectually written.” She makes Pictures much more than a vehicle for virtuoso display. The other pieces are equally fine. Sa Chen creates a pleasing suite out of six of Rachmaninoff’s opp. 33 and 39 Etudes-Tableaux, emphasizing a lyricism, wistfulness, and humor in these works that I have not heard so clearly before. If she lacks anything here, it is a feeling for Russian melancholy that deeper familiarity may bring. The brilliant Konstantin Chernov transcription of Rimsky-Korsakov’s orchestration of A Night on Bald Mountain—a recording novelty with only one other version in the catalog—is dispatched with great élan, the precision of the passagework being especially impressive. Apparently someone involved in this recording thinks that Sa Chen’s hands need to be noticed. They are conspicuously displayed on the cover, fingers splayed to reveal her face. Lift the disc from the tray and there they are again, folded this time in repose. Open the booklet and there is another picture of a hand over her face. One can’t miss the fact that they are rather small, especially compared with other interpreters of this repertoire. It doesn’t affect the performances. A careful listener may note an occasionally slighted low note in rapidly shifting octaves and there is one arpeggiation of a 12th chord in Pictures that exceeded her reach. Still, she yields little in power to any of the other artists named. “She plays like a man,” was the assessment of one friend who heard this release. Sexism denied, she does indeed, and with the heart of a poet. http://www.fanfarearchive.com/articles/atop/33_3/3332290.az_MUSSORGSKY_Pictures_Exhibition_Night.html
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