论文部分内容阅读
在拉赫马尼诺夫第三交响乐的排练中,普列文面对波士顿交响乐团,不像在尽力地激起每个人的浪漫主义热情,相反,他指导演奏者要抑制,他开玩笑地说:“我不知道你们为什么总想把它演奏成《爱之死》(译注:瓦格纳歌剧‘德里斯坦和伊索尔德》中的一段咏叹调,常被改编成管弦乐)?”毫无疑问,这个乐团习惯于请浮夸的年轻指挥,他们通过标新立异地指挥经典音乐成名,而普列文却是个极谦虚的人。正当他的作曲活动不断增加时——1998年9月在旧金山歌剧院首演他的《欲望号街车》歌剧改编本——他的指挥也以其质朴、清新的风格赢得较高声誉。他不会从管弦乐织体中发出奇怪的声音,也不会用反常的节奏来打断音乐的流畅进行。
In the rehearsal of Rachmaninoff’s Third Symphony, Pleven was not confronting the Boston Symphony Orchestra as much as trying to arouse everyone’s romantic zeal; instead, he instructed the player to restrain, he jokingly said : “I do not know why you always wanted to make it a” death of love. “There is no doubt that , The orchestra was accustomed to exaggerated young conductors who took command of the classic music by being unconventional and famous, while Pleven was a very modest man. As his composer activity continues to increase - in September 1998, he premiered his ”A Streetcar Named Desire," a repertoire of operatic operas at the Opera House in San Francisco - and his command also won a high reputation for its rustic, fresh style. He does not make strange sounds from orchestral fabrics and does not interrupt the smooth flow of music with unusual rhythms.