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艺术家：伊万・费舍尔，布达佩斯节日管弦乐团
标题：贝多芬：第四交响曲与第六交响曲 “田园”
发行年份：2015 年
厂牌：经典频道唱片
类型：古典音乐
音质：分轨 FLAC 格式 24 位 - 192 千赫兹
总时长：01:18:22
总大小：2.5 千兆字节
网站：专辑预览
曲目列表：
降 B 大调第四交响曲，作品 60 号：I. 柔板 - 活泼的快板 11:50
降 B 大调第四交响曲，作品 60 号：II. 柔板 8:52
降 B 大调第四交响曲，作品 60 号：III. 活泼的快板 5:49
降 B 大调第四交响曲，作品 60 号：IV. 不过分的快板 6:45
F 大调第六交响曲，作品 68 号 “田园”：I. 不过分的快板 - “抵达乡村时唤起的愉悦、宁静之感” 11:51
F 大调第六交响曲，作品 68 号 “田园”：II. 十分活跃的行板 - “溪边景色” 13:37
F 大调第六交响曲，作品 68 号 “田园”：III. 快板 - “乡民的欢乐集会” 5:00
F 大调第六交响曲，作品 68 号 “田园”：IV. 快板 - “雷电 — 暴风雨” 3:46
F 大调第六交响曲，作品 68 号 “田园”：V. 小快板 - “牧歌：暴风雨后对神感恩的喜悦之情” 10:57
演奏者：
布达佩斯节日管弦乐团
伊万・费舍尔，指挥
乐评摘要：
这张专辑堪称各方面均堪称典范的录音。指挥家伊万・费舍尔带领布达佩斯节日管弦乐团，以充满活力与深度的演绎，重新诠释了贝多芬这两部经典交响曲。
在第四交响曲中，费舍尔精准捕捉到作品中神秘、忧郁、豪迈与幽默的多元情绪。乐团的演奏洋溢着真切的喜悦，第二乐章更以高贵的气质脱颖而出。录音音质饱满浑厚，低音表现尤为出色，展现出罕见的现场感。
** 第六交响曲 “田园”** 的演绎则融入了创新构思：指挥家将木管乐手置于弦乐声部之间，使独奏家沉浸于贝多芬 “自然之声” 的流动中，小提琴亦采用对置式编排。这一设计增强了声部清晰度，尽管在 “乡民舞蹈” 段落中，弦乐的热烈有时会掩盖木管（如短笛）的音色。终乐章开头，费舍尔以独奏小提琴引出主题，仿佛暴风雨后独语般的处理，虽可能引发保守乐迷争议，却极具艺术感染力。
节奏处理上，费舍尔秉持灵活态度：第二乐章虽舒缓却不失灵动，末乐章以比近年某些录音更慢的速度（10:58）演绎，却通过强烈的演奏张力，传递出深沉的感恩之情，毫无拖沓之感。
尽管费舍尔此前对贝多芬第七交响曲的诠释褒贬不一，但这张专辑以其新鲜感与感染力，为熟悉的曲目注入了全新生命力，堪称最高水准的演绎版本。—— 克里斯托弗・阿博特（乐评人）
Artist: Iván Fischer, Budapest Festival Orchestra
Title: Beethoven: Symphony No. 4 & Symphony No. 6 "Pastoral"
Year Of Release: 2015
Label: Channel Classics
Genre: Classical
Quality: FLAC (tracks) 24bit-192kHz
Total Time: 01:18:22
Total Size: 2.5 Gb
WebSite: Album Preview
Tracklist:
1. Symphony No. 4 In B - Flat Major, Op. 60: I. Adagio - Allegro Vivace 11:50
2. Symphony No. 4 In B - Flat Major, Op. 60: II. Adagio 8:52
3. Symphony No. 4 In B - Flat Major, Op. 60: III. Allegro Vivace 5:49
4. Symphony No. 4 In B - Flat Major, Op. 60: IV. Allegro Ma Non Troppo 6:45
5. Symphony No. 6 In F Major, Op. 68 - ''Pastoral'': I. Allegro Ma Non Troppo - ''Angenehme, Heitere Empfindungen Welche Bei Der Ankunft Auf Dem Lande Im Menschen Erwachen'' 11:51
6. Symphony No. 6 In F Major, Op. 68 - ''Pastoral'': II. Andante Molto Mosso - ''Szene Am Bach'' 13:37
7. Symphony No. 6 In F Major, Op. 68 - ''Pastoral'': III. Allegro - ''Lustiges Zusammensein Der Landleute'' 5:00
8. Symphony No. 6 In F Major, Op. 68 - ''Pastoral'': IV. Allegro - ''Donner. Sturm'' 3:46
9. Symphony No. 6 In F Major, Op. 68 - ''Pastoral'': V. Allegretto - ''Hirtengesang, Woltätige, Mit Dank An Die Gottheit Verbundene Gefuhle Nach Dem Sturm'' 10:57
Performers:
Budapest Festival Orchestra
Ivan Fischer, conductor
Occasionally a disc comes along that is exemplary in every respect, so let me simply say that this recording was a pleasure to audition. Iván Fischer fully achieves what Jan Willem de Vriend is only partially successful at communicating in an identical program (his disc is reviewed below). The performers on both discs employ natural horns and trumpets within a modern symphony structure, so the comparison is even more apposite.
In the performance of the Fourth Symphony, Fischer captures all of the variety of mood—mystery, melancholy, swagger, and humor—that this fascinating score can project. There is real joy in this music, and Fischer and his orchestra revel in it; by contrast, the second movement possesses a noble character characteristic of the best performances of this work. The sound is full-bodied and has terrific bass, with the kind of presence only rarely achieved in the studio.
In his rendition of the Sixth, Fischer interpolates a couple of innovations. He seats the winds among the strings “so that each soloist was surrounded by musicians playing the flow of Beethoven’s nature music,” according to the conductor. This would seem to be well within his prerogative, as is the seating of the violins, which are placed antiphonally. The placement of the winds allows for extra clarity, though in the peasant dance, the exuberant strings occasionally swallow them up (the piccolo being the most obvious casualty). Fischer, however, also gives the first phrase of the principal theme of the last movement to a solo violin. I find this to be quite effective, a lone voice emerging from shelter as the storm passes; purists may feel otherwise.
Fischer has a similar attitude toward tempos, which are quite flexible. The second movement is leisurely indeed, but the molto mosso indication is very much in evidence, as the music never drags. The finale is also taken at a slower speed than on some recent recordings: The timing of 10:58 is almost three minutes longer than Järvi’s fleet pace, for one example, but here again, the music never feels merely slow, as the intensity of the playing radiates a profound sense of gratitude.
It is unusual, to say the least, to find a disc that sounds this fresh in repertoire this familiar, but Fischer and his Budapest band have a knack for doing just that. I wasn’t as taken with the Beethoven Seventh by these forces (reviewed in Fanfare 32:2), but I have no reservations about this new disc, which receives my highest recommendation. -- Christopher Abbot
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