极 颜 - [古典乐 Classical] 玛丽亚·杜埃尼亚斯María Dueñas - Bruch Violin Concerto No.1 & Brahms Symphony No.4：斯皮瓦科夫音乐节上的西班牙新星 的评论
视频简介这场音乐会是2021年10月8日在莫斯科扎里亚季耶音乐厅举行的第11届“弗拉基米尔·斯皮瓦科夫邀请”音乐节的重头戏，由俄罗斯国家爱乐乐团（National Philharmonic Or...
杜埃尼亚斯跟斯皮瓦科夫的师生情谊是这场演出最动人的背景。11岁被发掘，18岁同台，这七年里她从一个有天赋的小女孩变成了国际比赛的冠军。斯皮瓦科夫在布鲁赫里给她留了足够的空间，让她自由地表达，但在关键时刻又会用乐队的声音托住她。这种信任和支持，是一个老师能给学生最好的礼物。
Dueñas's tone in the Bruch Adagio is extraordinary. She plays the long melodic lines with such control—the bow moves smoothly, the vibrato is perfectly judged, the phrases breathe naturally. And she finds colors in the music that I haven't heard before. There's a moment near the end of the movement where she plays a high note pianissimo, and it just floats in the air. Magic.
勃拉姆斯第四交响曲的第二乐章是整部作品里我最喜欢的，那个中古调式的旋律有一种古朴的美。斯皮瓦科夫在这个乐章里的速度选择很舒服，不快不慢，让旋律有足够的时间展开。木管组的音色处理得很好，尤其是双簧管的独奏，带着一种哀而不伤的气质。整个乐章听下来，像是在看一幅褪色的油画。
The Russian National Philharmonic under Spivakov plays with a richness of sound that suits Brahms perfectly. The strings have depth and warmth, the woodwinds are clear and expressive, the brass is powerful without being harsh. In the fourth movement's climax, the sound is overwhelming but never crude. This is a great orchestra playing great music under a great conductor.
杜埃尼亚斯的布鲁赫让我想起了她第一次被斯皮瓦科夫发现的时候。那个11岁的小女孩，现在已经能在莫斯科的舞台上跟大师一起演奏了。她的成长轨迹本身就是一段传奇。而这场演出，是她送给斯皮瓦科夫最好的礼物。
I've heard Spivakov conduct Brahms before, and he always brings something special to it. His approach to the Fourth is classical in the best sense—clear textures, balanced proportions, emotional depth without excess. The first movement has a wonderful ebb and flow. The second is beautifully shaped. The third is joyful but never trivial. And the finale has weight and inevitability. A masterful reading.
杜埃尼亚斯在布鲁赫第一乐章里的华彩乐段拉得太精彩了。那段华彩不是炫技用的，而是音乐发展的有机部分。她把它处理得很有戏剧性，从弱到强，从慢到快，中间有几个和弦拉得极其饱满，像是在宣告什么。到最后一个高音的时候，整个音乐厅都安静了。这种在音乐中制造高潮的能力，是她作为演奏家的天赋。
The collaboration between Spivakov and Dueñas is the heart of this performance. He doesn't treat her as a young player who needs to be led; he treats her as an equal partner. And she responds with playing that is mature beyond her years. In the Bruch's finale, there's a moment where the orchestra and soloist trade phrases back and forth, and they play it like they've been doing this together for years.
斯皮瓦科夫的勃拉姆斯第四在第三乐章的处理上特别有意思。这个乐章是整部交响曲里唯一一个阳光明媚的乐章，很多指挥会拉得很快，追求那种狂欢的感觉。但斯皮瓦科夫的速度控制得很稳，让节奏有一种舞蹈感，但又不会失去控制。俄罗斯国家爱乐乐团的弦乐在这个乐章里拉得太漂亮了，那种轻盈的运弓方式，完全不是一般人印象里的“俄罗斯重口味”。
What I love about this recording is the sense of occasion. A great hall in Moscow, a great conductor, a great orchestra, and a young violinist on the cusp of international stardom. The Bruch is a perfect vehicle for Dueñas—it shows off her technique, her tone, her musicality. And Spivakov is the ideal partner—supportive, generous, always in service of the music. This is what music-making should be.