CLASSICAL

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CLASSICAL

机译：古典

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Swift and yet tender, pulse-led yet relaxed, recorded live but with the pinprick detail of a studio production: Kirill Petrenko encompasses all the internal contradictions and ambiguities of Mahler's Seventh while placing it in time between the pictorial naturalism of Liszt and the expanded tonal energy of Hindemith. Like Carlos Kleiber and Kirill Kondrashin before him, Petrenko has the rare gift of making swift tempi feel slower by 'reading' every strand in a complex texture: each note matters. The finale is refreshingly unironised, the two Nachtmusik movts. especially searching without false sentiment. Not since Kondrashin's long-deleted 1979 live recording [Tahra] has there been a Seventh on record of such impulsive genius.

机译：Swift和endent，脉冲LED且令人轻松，录制的生活，但是凭借工作室制作的Pinprick细节：Kirill Petrenko包含了Mahler第七次的所有内部矛盾和含义，同时将其及时在Liszt和扩展的色调之间放置时间 Hindemith的能量。像Carlos Kleiber和Kirill Kondrashin一样，Petrenko拥有罕见的礼物，让Swift Tempi在复杂的纹理中'读'每条股线感到慢：每个音符很重要。结局是令人耳目一新的，两个Nachtmusik Movts。特别是在没有虚假情绪的情况下搜索。自从Kondrashin的长期删除以来，1979年的Live录音[Tahra]在这种冲动的天才记录有第七次。

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《Hi-Fi News》 |2021年第11期|101-101|共1页
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7. Campagnes de la Grèce antique : le danger du prisme athénien R. Osborne, - Demos, the discovery of Classical Attica, 1985 (Demos) ; « Buildings and Residence on the Land in Classical and Hellenistic Greece : the Contribution of Epigraphy », BSA 80 (1985), p. 119-128 (Buildings) ; « Island Towers : the Case of Thasos », BSA 81 (1986), p. 166-178 (island Towers) ; Classical Landscape with Figures : The Ancient Greek City and its Countryside, 1987 (Classical Landscape) ; « Social and Economic Implications of the Leasing of Land and Property in Classical and Hellenistic Greece », Chiron 18 (1988), p. 279-323 (Social...) [O] . Michèle Brunet 1992

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