今天下午刚刚听了呼声不小的伊凡*费歇尔指挥布达佩斯节日乐团最新录制的马勒第四交响曲。整个演奏催人泪下，连听一个下午（听了三遍）录音效果现场感极强。第一乐章中那段长笛独奏特别震撼人心。从前喜欢伯恩斯坦、阿巴多、贝尔蒂尼、克仑佩勒、布鲁诺等等经典录音版本。费歇尔这种诠释完全是全新的诠释，感染力很强烈。可以在
www.channelclassics.com 上试听片断。另外，该公司网站已经开张了高格式音频下载。
以下是这张专辑的乐评摘选
BFO - Gustav Mahler: Symphony no. 4 in G major - Gramophone01 March 2009
Gramophone
What no-one will deny is the amazing unanimity and precision of the playing here and the superlative quality of the sound engineering.
Some maestro's choose between neo-classical modernity and old-world
Gemütlichkeit. Fischer gives us both and more: he gives us instability. Rather than taking his cue from the opening bars in which the jingling sleigh bells might be construed to lose their way, Fischer mixes them down, introducing his own eccentric nuance a fraction later. He permits an oasis of exquisite repose just before the movement's final flourish, yet much of the rest is unsettling.
In the finale, Fischer achieves novelty chiefly through understatement, mindful of the need to avoid coyness at all costs. Miah Persson is ideally cast and as she invokes Saint Martha at 3'56" it's as if we're transported to a small village church, the organ made tangible in the exquisite treatment of the accompanying instrumental texture.
This is just one of the countless imaginative touches on an exceptional hybrid SACD which must surely be an Awards candidate in 2009.
BFO - Gustav Mahler: Symphony no. 4 in G major - Guardian13 March 2009
Guardian（英国卫报）Tim Ashley
The sleeve notes for Ivan Fischer's new recording of Mahler's Fourth contain a statement by Fischer that initially makes one's heart sink. Culminating in a "lovely vision of paradise", the symphony, Fischer argues, shows Mahler taking us "to his own inner child, to his dreams of angels, fairytales, angst and pure divine love". Concerns that we're in for an hour of unremitting sentimentality are mercifully unfounded. Childhood, in Mahler, is viewed as both an idealised lost Eden and a place of primal trauma - and Fischer is as interested in the abysses that threaten to open round this music as he is in its surface calm. The combination of naive excitement and indefinable menace is strikingly sustained throughout, while the final vision of paradise, coolly voiced by Miah Persson, is at once funny, savage and unbearably sad. Fischer's insistence that the symphony should be treated as chamber music means this won't appeal to those who like a high-decibel count in Mahler, but the Budapest Festival Orchestra's playing is exceptional in its dark-hued subtlety. It's a provocative, iconoclastic performance, and highly recommended.
BFO - Gustav Mahler: Symphony no. 4 in G major - OpusHD.net01 March 2009
OpusHD.netJean-Jacques Millo
Ivan Fischer offers us an overwhelming vision of the fourth, making it his own. For, as he points out, "Mahler's Fourth Symphony has an incomparable purity and transparency. The beautiful sleigh bells take us to the inner world of his childhood, with his dreams of angels, his fairy tales, his anguish and pure love of god. For this naive symphony, a different orchestra is needed. Without basse tuba, powerful trombones or an arsenal of hefty brass, it is in fact a chamber orchestra in which the clarinets play like ironic trumpets, the solo violin is accorded one tone higher in order to frighten us, and the lightness of the entire orchestra lifts us to a charming and childlike vision of paradise." After listening to this invaluable recording, the effect is quite simply miraculous. Soloists' balance, perfectly natural phrasing, details of the musical discourse lifted up as never before, as if suspended in space: its all there, and the impression of purity and transparency transforms the tones heard into veritable sonic poetry. The soprano Miah Persson participates in this feast of the senses with a voice that is both soft and fragile. Insofar as the sound, despite a somewhat low-level recording, it is first-class DSD, allowing the acoustics of the venue to blossom and breathe naturally. A great, a truly great Mahlerian. Bravo!
