羅斯托波維奇指揮柴可夫斯基交響曲全集（EMI）

專輯名稱：柴可夫斯基交響曲全集

作曲家： Tchaikovsky（俄羅斯）
指揮：Mstislav Rostropovich
樂團：倫敦愛樂 London Philharmonic Orchestra
發行公司：EMI
片數：5張
價位：超低價位

英國留聲機雜誌評論摘要：
All the symphonies were recorded in London’s Kingsway Hall, the Tchaikovsky cycle between 1976 and 1977 and Dvorak’s ‘great four’ in 1980 (though not digitally). Granted, critical generalizations can be misleading, but it remains – at least in this particular case – fairly easy to identify a consistent interpretative grid, one that incorporates beefy textures, plentiful rallentandos, enthusiastic though occasionally imprecise playing, visionary slow movements (often taken at slow tempos), felicitous instrumental pointing (especially of brass and woodwind detail), darkly etched cello/bass-lines and an emblazoned theatricality that often recalls Slava’s great friend, Leonard Bernstein. Not that these performances resemble Bernstein’s in detail. Rostropovich’s Tchaikovsky is finer-graded than Lenny’s, and rather less prone to exaggeration (just think of Bernstein’s last New York Pathetique for DG, 5/87, with its wilfully distended Adagio lamentoso – Andante). Rostropovich’s Pathetique opens prosaically but builds to a powerful first movement development; the Allegro con grazia is both mellow and elegant, the scherzo, rumbustious and the finale, dignified and sensitively paced. The Fifth features an immensely solid first movement (with much energetic brass crossfire) and an expansively voiced Andante cantabile, and although the finale takes time to warm up (the opening Andante is rather limp), the sum effect is both stirring and deeply musical. Likewise in the case of the Fourth, where the parallel with Bernstein is most marked, although the first movement’s moderato assai is surely too slow and the heavy-handed Andante in modo di canzona, anything but song-like. The first three symphonies work well, the Winter Dreams and Little Russian particularly, the former for its haunting Andante lugubre (vivid premonitions of Manfred), the latter, for its swashbuckling Scherzo and finale. Manfred himself emerges as equivocal, sombre and inward-looking; the symphony’s middle movements are, by turn, hurried and syrupy (hardly a hint of the prescribed con moto) and while the finale’s slower episodes are atmospherically realized, the Allegro con fuoco is under-powered and the tam-tam under-recorded. However, Slava makes ample amends with a hell-raising account of Francesca da Rimini (Abbey Road this time and plenty of tam-tam) and a broad but passionately emphatic Romeo and Juliet.（Gramophone 9/1996 ）

購買日期：未定（台灣尚未發行）