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艺术家：伊万・费舍尔，布达佩斯节日管弦乐团
标题：古斯塔夫・马勒：第四交响曲 布达佩斯节日管弦乐团
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：56:55
总大小：2.9 千兆字节
网站：专辑预览
曲目列表：
G 大调第四交响曲
第一乐章：沉稳地，勿急 16:59
第二乐章：从容的行进，不慌不忙 09:36
第三乐章：宁静地，稍慢板 21:50
第四乐章：十分惬意地 08:30
演奏者：
布达佩斯节日管弦乐团
伊万・费舍尔，指挥
乐评摘要：
指挥家伊万・费舍尔与布达佩斯节日管弦乐团合作的马勒第四交响曲录音，被乐评人誉为 “顶尖水准的演绎”。其成功源于对作品自然本真的诠释 —— 乐团弦乐丰润通透，木管声部尤其出色（如双簧管与圆号的独奏段落），录音平衡感极佳，既保留了马勒音乐的戏剧性，又赋予其清新灵动的现代气质。
分乐章解析：
第一乐章：费舍尔以稳健的节奏把控，通过细腻的 rubato（弹性速度）展现音乐的呼吸感，乐团的动态层次从极弱（pp）到强（f）过渡自然，弦乐群的齐奏如浪潮般涌动，奠定了乐章 “沉稳而暗含张力” 的基调。
第二乐章（谐谑曲）：相较于其他指挥家（如马泽尔）对 “黑暗元素” 的强调，费舍尔的处理更显流畅轻盈，木管乐器的俏皮对话与弦乐的跳跃节奏形成鲜明对比，虽少了些棱角，却凸显了音乐的灵动性。
第三乐章：长达 21 分钟的慢板堪称精华。费舍尔对乐谱细节的严苛遵循（如力度标记与分句）在此尽显：竖琴的琶音如露珠滴落，圆号的呜咽穿透静谧，乐团以近乎室内乐的细腻协作，勾勒出 “天国景象” 的缥缈感。约 5 分钟处的双簧管独奏，音色纯净如牧笛，成为乐章的情感焦点。
第四乐章：瑞典女高音米娅・佩尔松（Miah Persson）的演唱被赞为 “完美诠释”。她以清澈而不造作的音色演绎《天国的生活》，既保有孩童般的天真（如 “尘世无这般妙音” 段落的轻盈转音），又避免了 “过度甜腻” 或 “成熟化” 的陷阱（对比朱迪丝・拉斯金与玛格丽特・普莱斯的版本）。费舍尔的速度处理比马泽尔更快（8 分 30 秒 vs. 10 分 41 秒），却通过明快的节奏传递出 “惬意” 的核心意境，尾声的弦乐颤音与木管鸟鸣般的呼应，将听众带入豁然开朗的天国幻境。
对比与创新：
与伦纳德・伯恩斯坦后期尝试用男童独唱的 “实验性演绎” 不同，费舍尔回归马勒原意，以女高音的 “童声化表达” 忠实呈现作品内核。相较于乔治・塞尔与洛林・马泽尔的版本，他的诠释更强调 “自然流动”，避免过度雕琢的 Rubato（如勃拉姆斯第一交响曲中被诟病的 “刻意感”），使音乐如呼吸般自然展开。布达佩斯乐团的木管声部尤其出彩，成为诠释马勒 “交响色彩主义” 的关键 —— 无论是第三乐章的圆号冥想，还是第二乐章长笛的嬉戏，均展现出乐团对 “细节精确性” 与 “情感表现力” 的双重把控。
总结：
这张录音以 “自然、细腻、充满灵性” 的特质，成为马勒第四交响曲的新一代参考版本。费舍尔对马勒音乐语言的深刻理解，与乐团近乎完美的技术呈现，使其在众多经典演绎中脱颖而出。无论是初次接触马勒的听众，还是资深乐迷，均能从中感受到 “天国般的纯净与人间烟火的交织”—— 这正是马勒这部作品的灵魂所在。—— 莱斯利・赖特（乐评人）
Artist: Iván Fischer, Budapest Festival Orchestra
Title: Gustav Mahler: Symphony No. 4
Year Of Release: 2015
Label: Channel Classics
Genre: Classical
Quality: FLAC (tracks) 24bit-192kHz
Total Time: 56:55
Total Size: 2.9 Gb
WebSite: Album Preview
Tracklist:
Symphony No. 4 in G Major
1. I. Bedächtig, nicht eilen 16:59
2. II. In gemächlicher Bewegung, ohne Hast 09:36
3. III. Ruhevoll, poco adagio 21:50
4. IV. Sehr behaglich 08:30
Performers:
Budapest Festival Orchestra
Iván Fischer, conductor
I have heard a large number of recordings of this symphony over the years and was fortunate to attend one of Leonard Bernstein’s concerts with the New York Philharmonic with Jeannette Zarou as soprano soloist at the University of Michigan in Ann Arbor in September 1967. Bernstein’s first recording with Reri Grist was my introduction to the symphony. From that time on this work has been one of my favorites. In addition to that recording, I have greatly admired those of George Szell with Judith Raskin, Jascha Horenstein with Margaret Price, and Lorin Maazel with Kathleen Battle, among others. I refer the reader to Tony Duggan’s MusicWeb International survey of this symphony for his recommendations among the many alternatives.
Having listened to this new recording by Iván Fischer several times on different systems, but unfortunately on only two channels, I would without hesitation place it at the very top of the list. It is that good! This is largely because it sounds so natural. Fischer has developed his orchestra into a world-class ensemble with rich but luminous strings and wonderful winds. The recording balances everything with perfection and nothing sounds in the least bit contrived, but the symphony comes up fresh minted - an over-used phrase, but pertinent here. Fischer convinces as a real Mahlerian, with a judicious but very natural employment of rubato. It is interesting that while he seems so well suited to Mahler, his recording of Brahms First Symphony that I also reviewed for this website, falls short for that very reason. There the rubato feels imposed, applied from the outside, while here it is part and parcel of the work. He obviously has a greater affinity for Mahler than for Brahms. He is also meticulous when it comes to following the score and observing the dynamics.
My reference recording of this symphony on CD has been until now Lorin Maazel’s and the Vienna Philharmonic, with Kathleen Battle singing the “Das himmlische Leben” song of the last movement on Sony, for its combination of radiant performance and warm, present sound. Now in direct comparison with the present disc, I find Maazel just a bit too mannered and Battle’s child-like voice rather affected-especially the stanza beginning with “Kein musik ist ja nicht auf Erden.” It is interesting that Maazel is slower in all four movements, though barely so in the second: Maazel’s timings are: I- 18:03, II- 9:28, III- 22:31, IV- 10:41 (see the timings for Fischer above). The biggest difference is in the finale, which seems very slow, though Szell took a similar tempo in his recording. The one movement where Maazel really scores, however, is the second movement scherzo, which he characterizes extremely well by bringing out the darker elements in the music. Perhaps Fischer is smoother and somewhat less characterful in comparison, but still detailed and idiomatic. In the other movements he is unbeatable. The playing of his Budapest orchestra is above reproach with particularly beautiful winds, especially the oboe and horn parts. Check out the oboe, for example, about five minutes into the third movement. The whole movement is gorgeous, with especial attention paid to the dynamics. Then, the finale is best of all. Miah Persson captures the innocence of the child without sounding childish or too sweet, just very natural and joyful. Listening to Raskin for Szell or Price for Horenstein here is enlightening. Both sound too mature, if not matronly, though good in their own ways. Then there is the disaster of Bernstein using an actual boy for his solo in his later version with the Concertgebouw Orchestra. It might have been a good idea in theory, but it just doesn’t work. Mahler intended the song to be sung by a female soprano with a child-like voice. Too bad, because otherwise Bernstein’s performance has much to recommend it. Reri Grist was so much better in the earlier performance, but Bernstein’s interpretation showed greater depth in the later one.
The bottom line is that this new version of Mahler’s Fourth is now the one to beat. I am looking forward to hearing the recording in surround sound. In the meantime, look no further for your Mahler 4. -- Leslie Wright
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