雅尼克·涅茲-塞金-布拉姆斯_III 快板（F 大調第 3 號交響曲,作品 90 Yannick Nézet-Séguin- Brahms_III. Poco allegretto (Symphony No. 3 in F Major, Op.90
Yannick Nézet-Séguin - Brahms_ III. Poco allegretto (Symphony No. 3 in F Major, Op. 90)
雅尼克·涅茲-塞金 - 布拉姆斯_ III。快板（F 大調第 3 號交響曲，作品 90）
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Yannick Nézet-Séguin & Chamber Orchestra of Europe present "Johannes Brahms: The Symphonies". Pre-order now: http://dgt.link/YNS-Brahms
Discover full concert performances and operas on STAGE+, the new streaming service from Deutsche Grammophon: https://www.stage-plus.com/
5,836 觀看 2024 年 6 月 22 日
雅尼克·涅傑-塞金與歐洲室內樂團呈現「約翰內斯·布拉姆斯：交響曲」。立即預約：http://dgt.link/YNS-Brahms
在德意志留聲機公司的新串流服務 STAGE+ 上發現完整的音樂會表演和歌劇：https://www.stage-plus.com/
A concert in Baden-Baden's Festspielhaus ended to euphoric applause, with no one knowing who was at whose feet: The conductor the orchestra, the audience the conductor or all together the composer Johannes Brahms?
巴登巴登節慶劇院的一場音樂會在熱烈的掌聲中落下帷幕，沒有人知道誰站在誰的掌聲下：指揮、樂團、觀眾、指揮，還是作曲家約翰內斯·布拉姆斯？
The reason for the enthusiasm was his Second Symphony, nicknamed "Lichtentaler", because he had completed it here, in Baden-Baden's Lichtental district. And now, with the Chamber Orchestra of Europe and its conductor Yannick Nézet-Séguin, it was given a performance that was one of the great moments in this house: orchestrally lightened, transparent to the core, but only seemingly embedded in an easily conquerable soundscape. The rhythms were constantly shifting. There was hardly a motivic turn that didn't immediately trigger a wave of syncopations, hemiolas and hidden changes of time signature, causing the musicians to despair of their stability. But everything was performed with the greatest naturalness: a rumble from the timpani, then the oboes called out into the open, the strings followed with a hint of delay, as if they still had to rub the remaining sleep out of their eyes. And what a climax the finale led to: an unleashed Brahms, an orgiast!
人們熱情高漲的原因是他的《第二號交響曲》，這部作品被暱稱為“Lichtentaler”，因為他是在巴登-巴登的 Lichtental 區完成的。現在，在歐洲室內樂團和指揮雅尼克·內澤-塞金的帶領下，這場演出成為這座劇院最精彩的時刻之一：管弦樂變得輕鬆，核心透明，但似乎只是嵌入在一個容易征服的音景中。節奏不斷變化。幾乎每一個動機轉變都會立即引發切分音、三度音程和隱藏的拍號變化，讓音樂家對他們的穩定性感到絕望。 但一切都演奏得極其自然：定音鼓發出轟隆聲，然後雙簧管發出清脆的聲音，弦樂稍稍延遲後才開始演奏，彷彿他們仍需揉揉眼睛，趕走殘存的睡意。而最終的結局達到了高潮：布拉姆斯的釋放，一場狂歡！