极 颜 - [古典乐 Classical] 雷诺·卡普松Renaud Capuçon - Live at Festival Polignac：勃拉姆斯与科恩戈尔德的室内乐对话 的评论
视频简介这场音乐会是2024年法国波利尼亚克音乐节的精彩实况，由法国著名小提琴家雷诺·卡普松携手泽利哈三重奏组（Zeliha Trio）联袂呈现，演绎两部风格迥异但同样感人至深的室内乐杰作——勃...
勃拉姆斯Op.8这部三重奏很有意思，二十岁写的曲子，五十七岁改了一遍。卡普松的演绎抓住了两个时代的特质：第一乐章的激情是年轻人的，但那种结构的严谨又是晚年大师的手笔。泽利哈三重奏组的钢琴和卡普松的配合很好，弦乐和键盘之间的对话很密集，每一个应答都很清晰。
The Zeliha Trio is a revelation. Their ensemble work is seamless—the piano sets the harmonic foundation, the cello provides the warmth, and Capuçon's violin soars above. In the Scherzo, they play with such rhythmic precision and playful energy. It's clear they've spent time with this music, understanding its architecture and its emotional core.
科恩戈尔德的组曲是我第一次听，完全被震撼到了。为左手钢琴而作，听起来却一点也不觉得缺了什么。弦乐三个声部加上左手的钢琴，织体反而更加通透。卡普松和他搭档的两位弦乐演奏家把那种晚期浪漫主义的华丽感表现得淋漓尽致，中间那些不协和音的碰撞又带着现代人的焦虑，两种情绪交织在一起，太有意思了。
The Korngold Suite is a hidden gem. Written for a pianist who lost his right arm in the war, it's a testament to human resilience. The piece doesn't sound like it's missing anything—Korngold's writing is so rich that the left hand alone creates a full harmonic world. And the string parts are pure Korngold: lush, cinematic, deeply emotional. This performance brings out all those qualities.
卡普松的琴声有一种法国学派特有的“光感”，不是那种厚重的、带着泥土气息的声音，而是透明的、带着光泽的。在勃拉姆斯第三乐章的慢板里，他的高音区像月光一样洒下来，钢琴和钢琴在下面轻轻地托着，那种画面感太强了。这种音色处理方式跟德奥学派不一样，但同样动人。
Brahms revised this trio so heavily that it's almost a different piece. The 1889 version has more concision, more focus. What's remarkable is how the youthful themes remain but are presented with a wiser hand. In this performance, you can hear both layers—the original inspiration and the later refinement. The Zeliha Trio's pianist in particular brings out the harmonic richness that Brahms added in the revision.
勃拉姆斯第一钢琴三重奏的第四乐章是整部作品里我最喜欢的一段。开头那个主题有一种倔强的味道，像是勃拉姆斯在说“我不会向命运低头”。卡普松和泽利哈三重奏把这种倔强表现得很有层次，从压抑到爆发，再到最后的平静，整个情绪的弧线非常清晰。
Capuçon's partnership with the Zeliha Trio feels like a meeting of equals. In the Brahms, the piano part is so important—it's not just accompaniment, it's a full partner in the dialogue. The cello too has its moments of singing. The balance here is perfect: everyone gets to shine, but the ensemble sound is always cohesive. That's chamber music at its best.
科恩戈尔德这部组曲让我想起了他的电影音乐，那种好莱坞黄金时代的华丽感在这部作品里已经有了雏形。弦乐声部写得非常饱满，小提琴和中提琴在高音区交缠，大提琴在下面铺底，钢琴左手声部弹出分解和弦，整个音场很开阔。卡普松他们演得很投入，能听出他们对这部作品的热爱。
The Korngold Suite's second movement is a marvel. It dances between major and minor, between joy and melancholy. Korngold's harmonic language is so distinctive—you can hear the Vienna of his youth, but also the Hollywood of his later years. This performance captures that bittersweet quality perfectly. The strings sing with just the right amount of vibrato, and the piano left hand keeps everything grounded.