论文部分内容阅读
往往,当纽约爱乐乐团在埃佛里·费歇尔大厅排练马勒作品时,总不免会有些听众如坐针毡、半途而退。可在那次排练马勒《第三交响曲》的下午,却引起轩然大波,人们面面相觑,簇拥而出。而台上那位指挥却置若罔闻,我行我素。他不像元老级指挥那样,以自己的德高望众和老骥伏枥、志在千里的精神驾驭着台上下。他更不像踌蹭满志、目空一切年轻一辈的指挥,以媚人的大弧度或吹胡瞪眼,脸红脖粗,摆出一副敢于与铜管乐较量的姿势来取悦听众。他愣头愣脑,
Often, when the New York Philharmonic orchestra rehearses Mahler’s work at the Everett Fischer Hall, there is always a chance that some listeners will sit back and miss. That afternoon, when Rehearsal’s “Symphony No. 3” was rehearsed, it caused an uproar, and people looked at each other and surrounded them. The conductor who turned a deaf ear on the stage, their own way. He did not like the veteran command, as his own high profile and veteran, in the spirit of thousands of miles in the spirit of driving under the stage. He is more like holding his hands full and ignoring all the commands of his young generation. With his magnificent or glitzy visage, his face is thick, and his audience is welcome with a courageous and brassy posture. He stunned head,