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年份：All20142013201220112010200920072000(44 篇文章)22: 22: 22: 22: 22: 21: 20: 20: 19: 19: 18: 17: 16: 15: 15: 15: 15: 15: 14: 14: 14: 13: 13: 07: 07: 07: 07: 07: 07: 07: 06: 06: 06: 04: 04: 04: 03: 03: 03: 03: 03: 03: 03: 01: (88 篇文章)30: 30: 30: 30: 30: 29: 29: 29: 29: 28: 28: 28: 27: 27: 27: 27: 26: 26: 25: 25: 25: 24: 22: 22: 21: 21: 20: 19: 18: 18: 18: 18: 18: 18: 18: 17: 17: 16: 15: 15: 15: 14: 14: 14: 13: 13: 13: 12: 12: 12: 12: 12: 11: 11: 11: 11: 11: 10: 09: 09: 09: 09: 09: 08: 08: 07: 07: 07: 06: 05: 05: 05: 04: 04: 04: 04: 04: 03: 03: 03: 03: 03: 02: 02: 01: 01: 01: 01: (81 篇文章)28: 28: 28: 28: 27: 27: 27: 27: 26: 26: 26: 25: 25: 25: 25: 25: 24: 24: 23: 22: 22: 22: 22: 22: 21: 21: 21: 20: 20: 19: 19: 19: 19: 18: 18: 18: 18: 18: 18: 18: 17: 17: 17: 17: 15: 14: 13: 13: 13: 12: 12: 11: 09: 09: 09: 08: 08: 08: 08: 08: 08: 08: 07: 07: 07: 07: 06: 06: 06: 06: 05: 05: 05: 05: 04: 04: 04: 04: 04: 01: 01: (120 篇文章)30: 28: 28: 28: 28: 28: 27: 27: 27: 26: 26: 26: 26: 26: 25: 25: 25: 25: 25: 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03: 03: 03: 03: 03: 03: 03: (111 篇文章)27: 27: 26: 26: 26: 26: 26: 26: 26: 26: 25: 25: 25: 25: 25: 25: 25: 25: 25: 24: 24: 24: 24: 24: 24: 24: 24: 24: 24: 23: 23: 23: 23: 23: 23: 23: 23: 22: 22: 21: 21: 20: 20: 20: 20: 20: 19: 19: 19: 19: 19: 19: 19: 19: 19: 18: 18: 18: 17: 17: 16: 16: 16: 15: 15: 15: 15: 15: 14: 14: 14: 13: 13: 13: 13: 12: 12: 12: 12: 12: 12: 11: 11: 11: 10: 10: 10: 09: 08: 08: 08: 08: 08: 07: 07: 07: 07: 07: 07: 06: 06: 05: 05: 05: 03: 03: 02: 01: 01: 01: 01: (102 篇文章)29: 29: 26: 25: 24: 24: 24: 24: 24: 24: 24: 24: 23: 23: 23: 23: 23: 23: 23: 23: 22: 22: 22: 22: 22: 22: 22: 21: 21: 21: 21: 21: 21: 21: 21: 21: 20: 20: 20: 19: 19: 19: 19: 19: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 17: 17: 15: 13: 13: 13: 12: 12: 12: 11: 10: 10: 10: 10: 09: 09: 09: 09: 09: 09: 09: 09: 08: 08: 08: 08: 07: 07: 07: 07: 07: 07: 07: 06: 06: 06: 06: 06: 06: 05: 05: 04: 02: 02: 01: 01: 01: (116 篇文章)30: 30: 30: 30: 30: 30: 30: 30: 30: 30: 29: 29: 29: 29: 29: 29: 29: 29: 29: 29: 29: 29: 29: 29: 28: 28: 28: 28: 27: 27: 27: 27: 27: 27: 27: 27: 27: 27: 26: 26: 26: 26: 26: 26: 26: 26: 26: 26: 26: 26: 26: 25: 25: 25: 25: 25: 25: 25: 25: 24: 24: 24: 24: 24: 23: 23: 23: 23: 21: 17: 17: 17: 17: 17: 17: 17: 16: 16: 16: 16: 15: 15: 15: 14: 14: 13: 13: 13: 13: 13: 13: 13: 13: 13: 13: 13: 12: 12: 12: 12: 12: 12: 12: 11: 11: 11: 11: 11: 11: 11: 11: 10: 10: 10: 10: 10: (75 篇文章)22: 22: 19: 19: 12: 10: 10: 08: 08: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 06: 06: 06: 06: 06: 06: 06: 05: 05: 05: 04: 04: 04: 04: 04: 04: 04: 04: 04: 03: 03: 03: 03: 03: 03: 03: 03: 03: 03: 03: 03: 03: 03: 02: 02: 02: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: 01: (136 篇文章)27: 27: 22: 17: 17: 16: 16: 13: 11: 11: 11: 11: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 10: 09: 09: 09: 09: 09: 09: 09: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 08: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 07: 06: 06: 06: 06: 06: 06: 05: 05: 05: 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04: 04: 04: 04: 04: 04: 03: 03: 03: 03: 03: 03: 03: 02: 02: 02: 02: 02: 02: 02: 01: 01: 01: (385 篇文章)31: 31: 31: 31: 31: 31: 31: 31: 31: 31: 31: 31: 31: 30: 30: 30: 30: 30: 29: 29: 29: 29: 29: 29: 29: 29: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 28: 27: 27: 27: 27: 27: 27: 27: 27: 27: 27: 26: 26: 26: 26: 26: 26: 26: 26: 26: 26: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 25: 24: 24: 24: 24: 24: 24: 23: 23: 23: 23: 23: 23: 23: 23: 23: 23: 23: 23: 23: 23: 22: 22: 22: 22: 22: 22: 22: 22: 22: 22: 21: 21: 21: 21: 21: 21: 21: 21: 21: 21: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 20: 19: 19: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 18: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 17: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 16: 15: 15: 15: 15: 15: 15: 15: 15: 15: 15: 15: 15: 15: 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newmike友链
此博客一百万出售。小泽征尔的维也纳新年音乐会
全部论坛新帖
爱乐人随笔
走四方抒怀
爱乐资讯发布
奥尔夫音乐教育
电影和电影音乐
批评与建议
天韵同和爱乐人，一意孤行走四方
维也纳新年音乐会
当小泽用中文向全世界祝贺“新年好！”时，全中国的爱乐人都为之动容。。。
雾港水手 ( 12:31:21)
2002年维也纳新年音乐会曲目：
1《祝你健康》进行曲 （约翰-施特劳斯）
2《狂欢使节》圆舞曲 （约翰-施特劳斯）
3《饶舌》马祖卡波尔卡（约瑟夫-施特劳斯）
4《艺术家的生活》圆舞曲（约翰-施特劳斯）
5《可爱的安娜》波尔卡（老约翰-施特劳斯）
6《前进》快速波尔卡（约瑟夫-施特劳斯）
7《蝙蝠》序曲（约翰-施特劳斯）
8《手拉手》马祖卡波尔卡（约瑟夫-施特劳斯）
9《水彩画》圆舞曲（约瑟夫-施特劳斯）
10《蜻蜓》马祖卡波尔卡（约瑟夫-施特劳斯）
11《小嘴不停》快速波尔卡（约瑟夫-施特劳斯）
12《无穷动》波尔卡（约翰-施特劳斯）
13《魔鬼音程之舞》（小约瑟夫―赫尔梅斯贝格）
14《艾丽斯》（约翰-施特劳斯）
15《维也纳人的气质》（约翰-施特劳斯）
16《踢踏》波尔卡（约翰-施特劳斯）
17《飞翔》波尔卡（约瑟夫-施特劳斯）
18《蓝色多瑙河》圆舞曲（约翰-施特劳斯）
19《拉德茨基》进行曲（老约翰-施特劳斯）
演奏：维也纳爱乐乐团
指挥：小泽征尔
舞蹈：维也纳国家歌剧院芭蕾舞团
EnricoCaruso ( 20:36:15)
“新年好！！！！！”出自小泽征尔之口。
我太激动了！！！！
小泽的新年音乐会实在不知道该用什么词句来形容！
EnricoCaruso ( 20:42:08)
维也纳新年音乐会不愧是当今世界上水平最高的音乐会。我完整的听过99、、2002四年的音乐会，之后都只有这一种想法。
尤其是今年的，小泽令我耳目一新，原来施特劳斯的作品还能够有这么奇妙的演绎方法！ 马泽尔给给人的是欧洲人特有的幽默与风趣，哈农库特令你明白什么叫维也纳的味道，小泽则把东西方两个世界完美的融合了起来！每年都能让人有惊喜的新年音乐会！（2000年我不大喜欢，穆帝年轻时的感觉我看不到）
我也送小泽一句：新年好！中国人民喜欢您！
EnricoCaruso ( 20:48:56)
不过最遗憾的是，宿舍的电视被别人霸占，只能坐在阳台上听收音机，边听边自我表现陶醉的指挥，看不到小泽的身影，遗憾，遗憾。但就是这样，他的魅力还是源源不断从电波中奔洒出来！
Peter Fang ( 20:49:16)
今年要到维也纳国家歌剧院上任的小泽显然和乐团的关系极端融洽，团员在他指挥下演奏的投入溢于言表。今晚的演出我的感觉是流畅自然，充满生命力和人情味，几首经常演奏的作品（象《蝙蝠》序曲、《艺术家的生涯》、《无穷动》等）虽然有许多大师的精彩演出在前，听起来还是情趣盎然，味道十足。小泽这样一位东方人能在维也纳有如此挥洒自如的表现，真是会让一些在欧洲名气更大但指挥新年音乐会时差强人意的大师惭愧了。
deRud ( 20:51:35)
正像幕间说的一样，新世纪古典音乐世界的有力竞争者将来自中国。
可是想不到记者和小泽竟然都不知道gramophone这个英文单词，让人大跌眼镜。而记者采访时竟然还要看问题。
Peter Fang ( 21:00:33)
这位出身著名播音员家庭的CCTV记者起码按照稿子说问题英文还算流利，没闹更大的笑话就不错了，不能要求太高。记者听到小泽介绍VPO的团员也是维也纳国家歌剧院的乐队队员时好象很惊奇的样子，还专门问"This
orchestra?"，让小泽确认一次；另外小泽提到他的斋藤纪念(Saito Kinen)音乐节活动，翻译根本就没有翻出来。小泽的英文的确是象美国人指责的那样，在那边工作多年还是一口的broken
English。不过短短的采访中，他那谦逊平和的高尚人格魅力丝毫不受语言的限制，照样能够深深打动我们。
EnricoCaruso ( 21:07:37)
下半场开场的蝙蝠序曲我是真服了小泽了！美中不足的是无穷动的结尾为什么观众那么早拍掌。
Handel ( 21:12:15)
所以我怀疑配画面的很有可能是录音，这可不是李立群演卡拉哈哈呀，那么大一堆人一个出错拍子就很有可能合不上了 有没有人注意到无穷动开头小泽动了几下之后音乐才响起来？
EnricoCaruso ( 21:14:03)
天哪！录音？我猜只是传输过程（上天、下地）中技术故障使得声画不同步罢了
deRud ( 21:14:29)
是不是小泽在示意节奏？？
至于观众，大概是被感动的不行了吧？
今年的CD和DVD应该在中国脱销，就冲着那句话吧：）
classicfan ( 21:15:54)
绝对不是录音，在很多曲子开始指挥前，小泽都把节奏预示一下，然后才起拍，那就是你说的“开头动了几下”，这也许是他的习惯。
Peter Fang ( 21:16:26)
我也注意到了《无穷动》开头的“问题”，比较可疑。等着出DVD吧，里面只会有实际演出的画面和声音，配舞蹈的曲目可能会做到special
feature里面。
Felix ( 21:22:33)
Classicfan兄说的两场也是小弟最喜欢的两次新年音乐会。总想在新年音乐会里听一听琉特琴的维也纳森林，总是等不到。小泽曲子前先动几下除了预示速度外，也是酝酿情绪。我倒觉得蝙蝠序曲的演出好像有点问题。
这是几年来看得最下意的一次！！
classicfan ( 21:23:28)
虽然我们都认为今年的新年音乐会很精彩，可是EnricoCaruso说“维也纳新年音乐会不愧是当今世界上水平最高的音乐会”，在下却无法同意，这是以娱乐性为主的音乐会，与其他常规音乐会缺乏可比性，就象最好的啤酒一样，你能说它比顶级白兰地好？
deRud ( 21:32:04)
卡卢索只是太激动了，何况又没有电视机。
就像我第一次听《蝙蝠》把它说成最伟大的歌剧一样。嘿嘿～～
Handel ( 21:35:06)
看来腐朽透顶的东西喜欢的人反而多
我也觉得蝙蝠好听又好看，Strauss写这么一个就顶上百首圆舞曲了
EnricoCaruso ( 21:43:38)
DERUD说的大概没错…… 不过说要听施特老斯的“俗”，也非听新年音乐会不可。
蝙蝠序曲的演出有什么问题？我是没听过小泽这么玩法的。
大俗大雅就别争了……更别提什么“腐朽透顶”好不好？
classicfan ( 21:46:38)
EnricoCaruso别急，人家说的是“反话”，你难道听不出来？
EnricoCaruso ( 21:55:34)
晚辈才疏学浅，没注意体会…… FELIX兄，蝙蝠序曲的演出到底哪里有问题啊？
Handel ( 21:58:27)
我确实喜欢蝙蝠啊，不是反话
Felix ( 22:00:28)
蝙蝠的处理挺来劲，我是觉得有个地方出了点小问题，呵呵！
EnricoCaruso ( 22:04:03)
哦，是这个意思。我是很喜欢小泽这次的蝙蝠的！
同一个乐团，不同的指挥就会有那么多种多样的味道，新年音乐会就是好！要听指挥（那些不演“俗”曲目的除外）不能错过新年音乐。
HANDEL，他是指第一句话
classicfan ( 22:05:11)
卡拉扬、克莱伯、小泽三人的“蝙蝠”是各有特色，不分上下。卡拉扬气派庄严，王者风范；克莱伯灵敏机动，收放自如，而小泽明快跃动，流畅幽默。
deRud ( 22:08:21)
蝙蝠的问题是不是开头几小节全奏后铜管的问题？
EnricoCaruso ( 22:12:45)
还是前辈们的耳力厉害！！
Handel ( 22:15:18)
收到，我第一次看完小克的蝙蝠全剧之后，第一感觉就是这种能把腐朽剧目演绎得如此机智，确实是指挥功力的体现，所以又想起腐朽这个词，然后加上透顶二字，不是反话，却不含贬义，因为我就喜欢嘛
Felix ( 22:16:03)
具体什么地方印象不深，那一刻的印象留到现在就是那时我正在剥一只大对虾。好像是在比较靠前的地方。
GL ( 22:56:27)
小泽的演出绝对精彩，而且曲目选择也很好。虽然不是象去年哈农库特那种我喜欢的点型的奥地利味道，但是让人非常快活。只是现场转播的声音似乎高音太多了，非常亮。还有导演也很有意思。镜头使劲的给那个竖琴MM，大概是好不容易有了个女队员？
donjuan 来自: USA ( 15:31:16)
OK, let me cool you guys down a little bit. This morning
I heard through FM radio of this new year's concerto from
Vienna. Since I saw you guys' posts first, many of which
acclaiming that Seiji's interpretation was so great, so
I paid an extreme attention on it. Sadly though, the music
through my HK stereo sounded so boomy, making VPO just like
a secondary marching band. Very disappointed indeed. This
evening, I saw it through PBS TV of the recorded live broadcasting,
it sounded a little better, with much needed high frequency
information, which provided many detail layers lost in the
radio. However, the whole experience was still kind of less
impressing. I have to admit that the second half better
played than the first part, while the Water Color Waltz
in the first is quite an interesting piece. What I missing
though is the subtleness, the elasticity, the balletic rhythms,
which are the heart and soul of those music by the Strauss
families. I should say that Seiji no lack of charisma that's
for sure, while at least to many Asian audiences, and this
concerto is one of more energetic ones within recent years
( I guess I can say that since I also have been following
this event for quite some time, since mid-late 80's), but
after an immediate comparison afterwards, with my other
collections, e.g. Broskovsky's Vienna in Music (taped in
73), Kleiber in 89, and Karajan in 87 together with some
others. This one still facing a lot competitions in many
regards, esp., against the first two I have just mentioned.
One example, in the Wiener Blut, the concert master did
a great job in the solo part, the rich tone is indeed better
heard than Broskovsky himself with the violin, but of the
whole work, Seiji lacks of the exact elegance while Broskovsky
Tempo wise, he is way too fast in many areas. The Plappenermaulichen
for one, yes, it is a Polka schnell (means fast), but still
it is a Polka, not a Gallop right? If only he can add a
little bit more rebate, and trade a little bit speed with
some humor.
I don't know how many of you also enjoy ballroom dancing
here. I used to be pretty good at it during college time.
I can tell you one thing though, that a really good waltz
does not need to have strong audible bits. The rhythm make
one dance, and esp. in waltz, elasticity is the key. While
Broskovsky and Kleiber let the music waving itself around,
Seiji here made the VPO more or less sound like a Boston
Pop. Well, you may argue with me that Karajan also made
the VPO sound like a march band. But the difference is that
K did get the best sound out of the Orchestra, while Seiji
failed to fully utilize its potential.
Sorry to sing a different tune here. But escalation as
some of you shown is way too outrageous, don't you think?
classicfan ( 16:04:29)
Well, at least I didn't feel any surprise about your remarks.
Like what we've learned from your previous behavior in here
and other classical music bbs, we know that you are used
to singing a diffrent tune with others in order to show
your "superioirty" in music appreciation.
I totally disagree with you. This year's New Year's Concert
is superb not only in respect of atmasphere but also in
music quality. The VPO sound terrific under Seiji. Those
familiar pieces sound like new composition under his conducting.
Boston Pop? Of course! Don't forget these simply arePOP
pieces! I didn't see your points at all.
classicfan ( 16:27:10)
Sorry, the last sentence of the above should be: I couldn't
see your points at all. (否则是另一种意思了。）
余超 ( 23:56:35)
我在一定程度上同意donjuan的意见。特别是Wiener Blut那一首，开始的独奏部分虽然特别好，但整体来说，还是少了一点“小资产阶级情调”，那是我最期待的。:-)
现在听新年音乐会，实际上并不是想看看那个指挥对自己口味，它对我更像一个仪式。当蓝色多瑙河开始前指挥和乐手向观众们说“新年好！”的时候，我才敢让自己相信：新的一年开始了。
donjuan 来自: USA ( 05:33:09)
^_^. Well, maybe "outrageous" is too heavy a word, I take
it back. But, there is no need to be obnoxious anyway. Easy,
easy, my young fellow.
OK, watched it a second time (since I taped as I usually
do). After listen through my Senheisser 575, I have to take
back some of what I have said earlier. No, VPO did not sound
like Boston Pop, because it was not brassy enough. Based
on sectional play alone, it still sounded like the old VPO,
the mellow yet rich French horn, the sweet woodwind, the
shining yet warm string playing. What strange though, is
that the double base sounded so predominately, partly with
the help of the timpani, it sounded so boomy that at certain
moment, I can almost hear the sound decay of the base, or
maybe it was over reverberated. As a result, when the whole
orchestra play together, the tonal color has been shifted
to the darker, boomier end, while the woodwind section has
been suffered significantly. Same thing happened to the
Harp, which was supposed to be audible even playing with
the orchestra! What we lost? The delicacy balance of the
different sound layer. Instead, we got just one plain mushy
sound wall. Sloppy play if one like to say, or sloppy recording
on the other. But either way, this IS NOT as good as the
renditions by Broskovsky and Kleiber. No, not within a mile.
Peter Fang ( 10:08:28)
I watched part of the replay on CCTV yesterday and was
surprised that it sounded different. The live broadcast
was very bright and often had distortions (I guess the CCTV
engineers set the wrong sound level) but in the replay the
distortions were all gone. However, the sound became so
bass-heavy that I wondered whether I accidentally had "mega
bass" turned on, which I did not. This balance problem was
more like an engineering one and unlikely Ozawa's. Too much
bass means the whole sound picture became less crystal-clear
and I know it's not the right sound because the VPO sound
is always their signature "bright" when they perform in
the Musikverein. It's a unique sound that failed to come
through in this TV broadcast. Let's see how the upcoming
Philips CD and DVD sound. Sound aside, I still liked the
performance a lot. It might not have the vienese charm of
Carlos Kleiber and Boskovsky but many oft-played "war-horses"
sounded so fresh under Ozawa and that was enjoyable. I always
try to look for something new in the New Year's Concerts
and I think whichever Maestro tries to become another Kleiber
on this podium will fail miserably so the best way to go
is to be himself and impress in his own way. I've always
wondered what we would hear if James Levine or Pierre Boulez
(two conductors close to the VPO) conducted the VPO in these
concerts. :)
Felix ( 10:42:30)
那段欧元的片子非常小资，很有意思！
Felix ( 10:50:13)
阿萨兄那篇讲小泽呼吸的文章咋找不到了！我觉得好几次的动作提前都是音画没配合上，真正小泽提前动作的极少。比如加演的第一曲，就比较明显是提前动作了。
donjuan 来自: USA ( 12:09:15)
Thanks, Perter. That may explain the reason. I think it
might be the recording fault. Hope they can fixed the balance
problem before issuing anything. Universal folks now a days
only care to make money rather than music. This of course
is their best chance. But you can count me out, I will not
invest any money on this one.
Yes, I am also looking forward to seeing Levine on that
podium. Afterall, Boston folks just couldn't hold their
happiness to see Levine's coming. They just can't wait till
the formal departure of Seiji. Sad isn't it? To see the
almost 30 year marriage just ended like that. One last thing,
you want Boulez to tear down the roof of the Musikverein?
Come on, not him for the new year! ^_^.
Eilan ( 17:19:07)
Hello, Peter,
＞＞I know it's not the right sound because the VPO sound
is always their signature "bright" when they perform in
the Musikverein.
Maybe the reason is that VPO switched the A from 446 Hz
to 440 Hz. I heard it from another list. If so, Wow Peter!
I have to say you are a rare bird who could recognize the
difference. But if the problem you described is just due
to the engineer's fault... OK, I am not ashamed to say I
didn't realize it during the telecast.
At any rate, everyone has his own mind of the sound of
Have a good day!
Eilan ( 17:27:13)
＞＞I've always wondered what we would hear if James Levine
or Pierre Boulez (two conductors close to the VPO) conducted
the VPO in these concerts. :)
In my opinion, if James Levine were there, he would give
a concert as magnificantly as Kleiber's. BTW, Kleiber could
and can do no wrong, correct?
Peter Fang ( 20:40:50)
Dear donjuan, if you noticed the smiley I used at the
end of my post you'd realize that I was joking about Boulez
there. No offense to Boulez fans, though. I treasure many
of his recordings but he might not be the right person to
conduct the New Year's Concert. :) Well at least he only
wrote in the 1960s that opera houses should be blown up
and that did not include the Musikverein. :)
Dear Eilan, sorry to disappoint you but I don't think I
can hear the difference between 446Hz and 440Hz from a TV
broadcast. I was merely pointing out that the bass-heavy
sound did not resemble the VPO sound I hear on most recordings
I have. :) I agree with you that James Levine could be a
magnificent New Year's Concert conductor if he were scheduled
to appear. On your last question about Carlos Kleiber I
am afraid I cannot say "yes" or "no" to it because Kleiber's
repertoire was/is too limited for us to judge. I am not
a member of the Kleiber "cult" but I might go as far as
to say that in the works he chose to do he did them all
well. Now only If DG can persuade him to come out from fishing
and make more recordings before he officially retires it
would be wonderful for all of us. What about some more Beethoven
symphonies (or at least the 9th), the rest of the Brahms
symphonies (I know he only performs the 2nd these days),
and more opera? Given the tough time the classical recording
industry faces today I don't see that coming any time soon.
I read elsewhere a post from a conductor who attended all
seven performances of his Rosenkavalier at the Met and it
made me dreaming about hearing a tape of that event some
classicfan ( 20:41:24)
Well, donjuan, now I found out that you are so eager to
show your 'superiority' not only in music appreciation but
also in age. How funny! Do your words sound more authoritative
if you are older?!
classicfan ( 20:53:47)
I believe that nobody here thought that Ozawa is perfect
as far as his performance in the New year's concert is concerned.
Different opinions are noraml. However, nobody likes to
be "cooled down" by a snobbish fellow like Donjuan. Yes,
we know you live in the U.S. and have an expensive earphone,
but these do not mean that you can understand music better
than others.
donjuan 来自: USA ( 02:52:20)
Sure, Perter, I know you are kidding. Me too. Even though
I don't care too much about mordern music, I like Boulez
conducting Mahler if not all of them, and couldn't wait
to get his Bruckner 8th on DVD. Saw him conduct the 9th
on the web, really liked it.
donjuan 来自: USA ( 03:28:19)
Dear classicfan, I know you have heard of a lot live performances,
I happened to be no so lucky, and feel like there is even
a bigger world that I haven't explored. There's no reasin
to feel superior. Am I old? Come on, only 35 you thought
it old? Wow! True I can't touch the rim anymore, but I still
can play the basketball. Why can't I? No, I am not a rich
fellow, but rather poor. I bought the senheisser for only
about half year to replace my broken Koss which I have used
for almost 6 years, and the price wasn't as expensive as
you might have thought. By the way, isn't there somebody
here who's using Stax here? That's the real one. :). OK,
any differences? Everyone has his likes and dislikes, we
debated a lot at RMCR. Nothing wrong there. The sounding
problem Peter has helped me clear out. I guess I am not
the only one who feeled the uncharacteristic boomy sound.
Last thing, I saw some of your CD recommendations elsewhere,
I don't have much against to, except that you feel that
the Furtwangler's 44 Eroica is just a Hype, which I don't
agree. That's all. Other than that, most of the recordings
you mentioned, I love them too. I just try to avoide to
repeat the same thing to save some space. Doesn't that manager
like to delete things? ^_^. Enjoying your listening, I know
classicfan ( 09:58:08)
TO DONJUAN:
Ok, my young fellow (Since I am older than you, I guess
I AM entitled to call you like this), it is quite understandable
for a young people like you to speak naively while pretending
to be experienced and knowledgeable. I forgive you. But,
please remember: one needs to be humble to learn as much
as possible.
Peter Fang ( 10:03:40)
Dear donjuan, I was just listening to the Boulez Mahler
7th late last night. I have all his DG Mahler releases as
well as the older Sony "Das klagende Lied". Of the newer
recordings I like his 1st, 6th and 7th the most and I haven't
given enough time to his new Das Lied von der Erde with
the VPO yet. Most of the time it's a revelation listening
to Boulez's Mahler and the clarity he was able to bring
out is unsurpassed in my opinion. Maybe only the late Sinopoli
came close in that regard. By all means get Boulez's Bruckner
8th DVD. It's magnificent. In addition to a top-flight performance
it was also beautifully filmed and recorded. I got my copy
cheap from http://www.bensonsworld.co.uk/detail.asp?product=9,
this vendor has free international shipping! One problem
is that it's in PAL. So you noticed that I am using Stax.
:) I actually got the Stax 3030 system only days ago to
complement the Sennheiser HD600 that I've been using for
a while. I cannot afford high-end speakers and amplifiers
this is the most safisfying solution for me right now. I'd
have to spend maybe 20 times as much on a speaker system
to come close to the Stax. I'd rather spend those money
on recordings and books first. :) By the way Stax products
are at least 30%-40% cheaper in China compared to the prices
in the States.
donjuan 来自: USA ( 13:37:42)
Great choices, Perter. I mean, both the recording you have
mentioned, and of course, your Stax. If anybody should feel
jealous to, I know I am little bit(^_^), it has to be to
you. Kidding.
Yes, I feel that Boulez's Mahler 1 & 6 should be among
the top 5 list in each symphony, even though I know there
is some one dislike his 6. But I quite enjoy it. As for
the 7, I think Abbado(CSO) and Rattle did slightly better,
well, it's still quite debatable. I just finished listening
Kaplan's Mahler 2 today, which is incredible, I wish I had
digged it out from our library ealier, but their catalog
is poorly catagorized, no coductor, even no label info.
I am going to dub a copy for my reference. A performance
like this really worthwhile to go back later.
Too bad that his Bruckner 8th still hasn't been released
in the US yet. Thanks for your link by the way, I guess
I might have to consider to get a zone free machine which
can play both NTSC and PAL mode now. :)
Peter Fang ( 15:00:18)
Dear donjuan, Boulez's Mahler 7th sounds so different from
others yet it is compelling in its own way. I would not
recommend it as a first (or even second) recording for someone
new to the work but I find it an essential listen. For a
more "mainstream" 7th the Abbado, Bernstein (Sony or DG),
Bertini and the recent Michael Tilson Thomas are all excellent
choices. The MTT is gorgeously recorded. I am looking forward
to hearing Michael Gielen's version on Hanssler as I enjoyed
his 2nd, 3rd and 6th in the series so far. Kaplan's Mahler
2nd is a very solid performance and is well recorded too.
It's a version that I find hard to fault but at times I
feel I may want just a bit more freedom, edge, bite or emotion
here and there. I won't call it "bland", it is not at all,
but it's just a bit too polished. I go back to it once in
a while although in a more adventurous mood I'd pick Scherchen
or Bernstein/NYPO or even the recent Ozawa/Saito Kinen.
On the DVD side I think you need a region-free player and
a multi-system TV just to watch all the wonderful european
and japanese videos! I just received the Q-Disc Mengelberg
and Van Beinum box-sets and both include a bonus DVD. I
can't wait to get back home and watch them!
By the way, maybe we should communicate via private e-mail
otherwise I fear others might complain that we're trying
to turn this into an English forum. :) I still prefer typing
in English as I cannot input Chinese as efficiently. Please
if you feel the same. :)
donjuan 来自: USA ( 03:47:04) ^_^. OK, Mr.
Classicfan, since I am your young fellow now, I guess I'd
better I call you Mr., as I don't know whether I should
call you uncle or big brother. Or maybe you are a lady,
then I will be embarrassed to death. ^_^. You do have a
youthful heart, don't you? So easy to get excited. Shame
of me, I seems hardly to do so these days. But anyway, Thanks
for your kindly forgiveness. Actually, I have no intention
to pretend to be experienced or superior. I like classical
music, enjoy collecting and listening to classical recordings.
I also enjoy watching people's debate about their preferences,
yes, sometimes I also participate in it. We do it all the
time at RMCR(I guess you already know what it stands). Since
BBS is just a part of democratic society, where people exchange
their opinions freely. Whether it's Mr. Henry Fogel from
the Chicago Symphony (also write for Fanfare), or Mr. David
Hurwitz from , or Robert Beson from
, or Rob Barnett from the musicweb.uk.net,
or professional musician, player, conductor freelance composer
(hidden their name or not), people there are all equal.
We are free to pick other's faults because that's part of
discussion. I know a few collectors who have tens of thousands
of recordings and have tons of experiences, while I just
have slightly under 1K, less then 10%! But guess what, if
they said something I feel that I strongly disagree, I will
point out directly. That's part of debate, there is nothing
to feel superior or inferior of. Above all, the music always
comes first, not ranking.
So, if you have anything like to discuss, such as the
choices of certain performances like Beethoven, Brahms,
Bruckner or Chopin and so on, I, This Young Fellow, will
be more than willing to discuss with you and I am willing
to learn something from you, as I did from here. I have
just ordered my first 4 recordings of Asahina's Bruckner
from Japan, thanks for Ms Cina and Peter's recommendation.
And thanks for the recommendation from the other BBS, the
Kavakos played Sibelius Violin Concerto is also on the way
here. To tell you what, I am very interested to learn how
Jacques Urlus's Wanger sound alike, thanks for Patzak's
promotion!
classicfan ( 20:44:57)
小泽的新年音乐会的精彩程度超乎在下的预料。好久没有这么好的新年音乐会了。在下觉得今年是唯一可以与87年卡拉扬、89年克莱伯媲美的一场。“可看性”比ABBADO、MUTI、MAZZEL、METHA都好，更别提去年的哈农库特了（瞪着甲亢病人似的大眼睛让人倒胃口）。
小泽用中文说“新年好”让人感动。
EnricoCaruso ( 20:53:12)
你说可看性，我就连声哀叹自己没福气…… 哈农库特我很喜欢他对施特劳斯的诠释，有味道，但你说他“瞪着甲亢病人似的大眼睛让人倒胃口”，我倒觉的是个人喜好，我就特羡慕他那种陶醉。闭上眼睛听哈农库特，很是享受。
不过今年小泽的表现真是太好了！！！！！
而我认为和其他年份不在一个档次上的的是2000的穆帝！
deRud ( 20:54:30)
是不是唠叨波尔卡？？
里面用的两件奇怪的玩具一样的乐器叫什么啊？谢谢告知～
EnricoCaruso ( 20:56:07)
那个什么《魔鬼》出奇的好！能不能多介绍一下其作者？
classicfan ( 21:03:06)
在下觉得与其他音乐会不同，新年音乐会更主要是“看”，小泽今晚的表现可谓潇洒自如，幽默风趣，手下工夫了得，令人赞叹。
说起MUTI，93年那一场其实也很不错，生机勃勃。除了哈农库特，METHA和MAZZEL也是是最没看头的，
EnricoCaruso ( 21:04:29)
我反对，梅塔和马泽尔怎么成了最没看头的？
Peter Fang ( 21:06:56)
同意EnricoCaruso兄关于Muti的说法。我在另一贴中说的几个差强人意的新年音乐会指挥就包括Zubin
Mehta、Riccardo Muti和Lorin Maazel。Mehta的演出我看完毫无印象；Muti总是除了板起的面孔就剩下一些火爆曲目中的physical
excitement；Maazel指挥过多次，大概已经有点厌烦了，虽然技巧精准可是觉得和自动驾驶没多大区别。看了今晚的转播，我觉得小泽是Carlos
Kleiber的1989年经典演出以来最让我感动的一次，Harnoncourt去年的那场我也很喜欢，不过我喜欢他的指挥许多年了，也许不够客观。:)
classicfan ( 21:08:10)
PETER兄把在下给弄糊涂了。。。
Handel ( 21:09:45)
我怎么觉得小泽的表现大大失分啊，吐舌头摸嘴巴常常出现
要说可看性跟Kleiber那年确实差不多，然而层次似乎有点低了
本来很喜欢他的，所以可能不够客观:-(
EnricoCaruso ( 21:10:34)
或许是我看马泽尔不够多吧（96、99两次而已），但我真是很欣赏他！
为什么大家不喜欢MEHTA？？
周小静 ( 21:12:11)
我也喜欢这个作品《魔鬼音程波尔卡》，机智，幽默，好听。给音乐会增添了新鲜感。 作曲家是小约瑟夫.黑尔梅斯贝格（，维也纳人，与他同为作曲家、小提琴家、指挥家的父亲同名）。魔鬼音程指三全音（既增四度或减五度），这个音称包括三个全音，如C―升F，或F－B,等等。在欧洲中世纪的宗教音乐里，因为这个音程不协和，故必须避免。而在《魔鬼音程波尔卡》里，有不少地方是以这个音程为旋律框架，此外还有许多半音进行，听上去真是有趣极了。
小泽真好，真好！真好！！！
classicfan ( 21:12:38)
那有什么关系，自然最重要。小泽是全心投入，不修边幅。
Peter Fang ( 21:12:44)
我是说同意EnricoCaruso兄关于Muti的评论。:)
周小静 ( 21:15:30)
回deRud：那两个东西，好像都可以称作“摇响器”的，老莫扎特的玩具交响乐里就有。可能有好多种呢。
Handel ( 21:19:15)
周老师说得好啊，冲着这个魔鬼音程我会买第二张维也纳新年音乐会的cd了 不过dvd估计不在考虑之列，想想Kleiber当年的乡村燕子，跟小泽的表现实在是无法相提并论
两个人都是形体幅度较大的，可是同是舞蹈，也有雅俗之分啊，倒不是说俗的动作不好，只是我不喜欢，呵呵
deRud ( 21:28:27)
谢谢周老师。
Felix ( 21:34:32)
克莱伯的指挥就像是在乐台上面圆舞，特喜欢他划圈子的手势。小泽的手势比较东方化，在这种手势的指挥之下流淌出感人至深的施特劳斯圆舞曲，也真是一绝！
classicfan ( 21:39:39)
对，应该说各有千秋。再说了，克莱伯是不世的天才，动不动就跟他比，那还叫其他指挥家怎么活？
Handel ( 21:41:31)
Kleiber是天才，这话我爱听 其实我也很喜欢小泽的啊，高标准严要求一下
更喜欢他慢慢歪到一边，在即将失去平衡前又歪回来
周小静 ( 21:46:00)
小泽的动作确实不如克莱伯漂亮，要说可看性，克莱伯绝对没人可比。不过，听到小泽用准确而富有感染力的动作从乐队里“带”起来的音乐，觉得那真叫音乐。他不大在意自己的形象，全身心都在音乐里，朴实！有些指挥光顾自己个儿帅了，根本不管声音，看着好像还不错，满激动人心的，可观众只要闭上眼睛几秒钟就全完了。
克莱伯是即可看又可听，到目前为止，我最喜欢的还是他的新年音乐会。
classicfan ( 21:49:20)
周老师说得好，完全同意。“卖帅”的典型是MAZZEL，一副绅士派头，可是音乐没味。
Felix ( 21:58:49)
很多亚洲表演家的台风非常个性，给我印象最深的还有郑京和。他们的音乐却又征服了西方的听众。听小泽的处理和卡拉扬完全是两种风味。小泽对大线条的收放非常自如，而卡拉扬则更加注意各个声部的内在推动力，来获得整个音乐的发展。周老师说“买帅”，有些演奏家也是如此，最怕就是那些把表情全放在脸上，音乐里什么也没剩下的。
shenqi ( 18:06:14)
我觉得最感动的倒是他的眼睛。那里面是最天真最美丽的，也只有艺术能让一个老人（其实说是所有的人更好）的眼睛里现出天真和美丽。不禁让人想起一些站在指挥台上心里装的最多的却不是音乐的人的眼神。
执著着 ( 23:06:12)
CLASSICFAN兄，mazzel的音乐没味吗？虽然我不是特喜欢他，请你听听他指挥的马勒NO.4交响曲，就知道有没有音乐味了。
classicfan ( 00:27:21)
在下指的只是MAAZEL在新年音乐会的表现，并没有将他一棍子打死啊。作为名指挥，他当然有不少好东西。你提到的这个录音在下也有，相当优美，不过比起SZELL的录音来，处理上还未够圆熟。当然，VPO的演奏是非常细腻的，可CLEVELAND也毫不逊色，那种自然的呼吸，还有室内乐般的紧密配合是SZELL独步天下的，谁也比不了。MAAZEL指挥什么都不错，但他的特长在那里谁也不晓得。这大概能说明些问题。
classicfan ( 20:50:15)
BRAVO！！！ SEIJI！
EnricoCaruso ( 20:54:52)
我冲着宿舍楼的夜空大叫BRAVO！可惜我这里基本上没人听音乐会……
EnricoCaruso ( 20:58:14)
再插一句，为了听音乐会，我中途还从凳子上摔下来一次，碰到了后脑勺！
classicfan ( 21:07:03)
哈哈！！看来老兄一定得去买一张DVD来“补一补”了。
deRud ( 21:35:52)
请问维也纳新年音乐会坐在正厅中央的那位穿浅绿色闪闪发光衣服的漂亮日本女孩叫什么名字啊？谢谢！
阿萨 ( 02:35:34)
如果没猜错的话，您说的那个女孩就是小泽征尔的千金，名叫小泽征乐，旁边还坐着他的太太和公子。他的太太就是一个大美人，两个孩子都是在美国接受的教育，儿子曾经在崔洋一导演的电影中担任主角，女儿好象是学人文的，偶尔在电视里露面。今天，当小泽第一次示意VPO成员用英语问候时，我就下意识地想到，肯定首席说日语，因为他是日本人的女婿，压阵的只能是小泽说汉语的“新年好”。真让我猜中了。今天，不包括新年音乐会，日本的电视台搞了一个72小时古典音乐马拉松，其中有一个长达5小时的节目，题为《小泽征尔万岁》，里面看到了当时年仅34岁的汤沐海跟随小泽学习的情况。
关于小泽征尔的情况我想把自己知道内容写几句。他是一个极其复杂的艺术家，无论是性格还是阅历以及胆识，在今天人看来都是难以想象的，已经很难用传统的东方人或西方人的标准来衡量他，他先后跟从4位恩师，第一位斋藤秀雄，从那里学到了西洋音乐的基础理论和指挥技巧，后创建的“斋藤纪念”乐团就是为纪念这位日本音乐的奠基人之一。斋藤对小泽的一大影响据小泽本人回忆是爱上了俄罗斯音乐，老柴的弦乐小夜曲就是小泽第一部指挥的曲目，前几年BPO主办的森林音乐会《俄罗斯之夜》就是小泽担纲，其中有老柴的弦乐小夜曲。59年，当时日本还是一个相当封闭的社会，小泽只身一人乘坐2个月的轮船来到巴黎，这一壮举在同龄的日本人中是绝对不可想象的。到西方后又先后师从指挥大师明希、卡拉扬、伯恩斯坦。现在想真如同天方夜谭，最权威的3个大师都相中了这个其貌不扬的小伙子，不能不说明其过人之处。在名师的栽培下，法国音乐的色彩、德奥音乐的严谨、加上美国的宽松文化环境，一切为小泽奠定了成功的基础。其演出范围除歌剧外，少有死角。据回忆，卡拉扬曾教导他歌剧的重要性，就像推车子要有两个轮子一样，交响乐和歌剧是势均力敌的。有好几次，卡拉扬给小泽大越洋电话，一说就是几个小时，告诉他哪些歌剧的具体要领，小泽听的耳根发疼。近年来，小泽对歌剧的参与越来越积极，但愿能在维也纳国家歌剧院搞出些名堂。
小泽曾一度回到日本指挥NHK，但已经彻底西化的他与团员关系搞得极为紧张，有几次甚至在排练场遭到演员集体罢工。见过当时的照片，整个舞台空荡荡，只有指挥台上站着可怜的小泽。主要原因是小泽耳朵太尖，给人挑错准，说话不留情面，与NHK交响乐团的关系至今无法修复（其实这并不影响NHK是日本最出色的乐团）。此后，小泽曾发誓不再回日本，并从根本上否定了日本的文化环境。即使现在，小泽回日本的演出场次仍是非常有限。大家都知道小泽的英语难听，其实何止英语，他的日语说的一样糟糕。有一次，我打开电视，屏幕还没亮先从里面传出声音，瓮声瓮气，粗话连篇，我好奇地想看看这是谁，一看吓一跳，原来是小泽大先生，完全听不出是一个艺术家的语言，和那些工地扛大包的大老粗说的一种语气。语言能力差是小泽经常用来自嘲的话题，但这并不妨碍音乐的传达。
小泽只说自己爱音乐，从来没说爱国之类的话，而他与欧美的乐团、演奏家、听众相处的十分融合，特别是美国人根本不把他当外人，作为一个日本人，能融入当地的文化的确是难能可贵的，我想除了美国的文化包容性外，也与小泽的人格魅力有关，由此可见音乐真是一本全世界通行的“万能护照”。现在，日本人已经引以为荣地叫他“世界的OZAWA”，而美国人都愿意叫他“SEIJI”。小泽征尔对中国，中国观众对他都有着特殊的感情，他出生在凤天，童年在北京度过，CINA老师认识小泽的母亲和弟弟，回忆录有时间可以给大家介绍一下。小泽曾多次访问我国，这在当时已经远远超出了文化交流层次，更多的是政治意义。无论是第一次公然奏响《星条旗永不落》，还是在红塔礼堂指挥《二泉映月》、指名杨洪基领唱贝9…这些对我们中国观众来说都难以忘怀，他还陆续提拔过不少中国艺术家，二胡的姜建华、男低音彭康亮，在他们面前只要提到小泽征尔先生，无不感激涕零。今天的一声“新年好！”也许正揭示了小泽的另一个感情世界。（中央台对他的采访都说什么了？我想知道）
在生活中小泽是一个非常随意的人，不愿拘束、想什么做什么、喝美酒品佳肴、年轻时据说也风流过，婚后始终特别恋家。他的公子拍电影时，他亲自去拍摄现场参观了一整天，更可笑的是，他家的小姐上大学时，为了阻止人家谈恋爱，居然从宿舍到食堂全程跟踪，侦查心爱的女儿都和哪些家伙来往，全然不顾自己的身份…他年轻时的发型是极普通的3：7分，后来的固定发型是到美国后特意留成的，为的是有特点，让人过目不忘。
关于小泽征尔的指挥风格，我想我没有资格多说，不过有激情应该是大家都公认的，至于一些细节每个听众反应不可能一样。大家讨论到今天在一首曲目开始前，好象有小动作，是不是声音没对上做了技术处理，我想原因可能是这样的：小泽征尔曾公开说明，指挥每一首曲子的开始处，呼吸都很难调整，自己跟随斋藤先生学习指挥时养成一个习惯，先足足地吸一口气，摒住呼吸，心里数着“1、2、3，走！”立刻呼气，指挥开始。本来是应该心里数数，但时常嘴里发出声来，今天的情况大概如此。
谈论小泽，我想我们没必要死死抱住“他是东方人”的观点看问题，每个艺术家的出发点和着眼点不尽相同，肤色并不能说明一切，后天的修炼同样能改变肤色带来的差别。即便是东方人，小泽也属于特例，传统东方人保守含蓄的作风在他那里正好反其道而行之，他比很多西方出身的指挥更加热情外向，加上他丰富的文化背景和生活阅历都是同辈指挥家望尘莫及的，西方音乐界也把他看成自己人，而非把有色人种作为卖点（梅塔也类似），从内心世界分析，这与傅聪先生的情况是不宜等同看待的。
Lenny Shaw ( 23:14:07)
我在1999年写了一篇《维也纳新年音乐会史话》的旧文，许多信息是参考维也纳爱乐乐团新年音乐会网站上的信息。刚欣赏了小泽精彩的演出，又感受到大家热烈的情绪，就将那篇旧作贴到了爱乐资讯上了。
今天小泽和维也纳爱乐的表现实在精彩，非常投入。另外小泽偏重音乐的演绎和传达，将很容易弄成舞会音乐的作品变成了真正的音乐会作品。
中场休息时对小泽的访谈让我们领略到了他人格的魅力。我尤其感动的是当他说：“我出生于没有音乐背景的家庭，因此我不断地学习，想知道我能学到什么地步。而我身后的亚洲年轻音乐家们就可以站在我的起点上了。”好！！！
维也纳新年音乐会史话
Lenny Shaw
新年是全世界人民共同的节日。人们庆祝新年的方式有各种各样，但世界各大城市都不约而同地会有一场高水准的音乐会，在轻松美妙的音乐中宣告新的一年的开始。
新年举行音乐会的传统源自维也纳。时至今日，每年一度的维也纳新年音乐会仍是世界最引人注目的年度音乐盛会，全球绝大部分电视台和电台都进行现场直播，听众数以千万。每年的维也纳新年音乐会的票都要提前几年预订，音乐会的CD和录像资料的发行权都是各唱片公司争夺的焦点，因为它意味着崇高的声誉和丰厚的商业利润。中国中央电视台也于1996年派专题摄制组去维也纳现场直播，使国人对维也纳和新年音乐会有了更多的了解。
每年的1月1日上午，奥地利首都维也纳的“维也纳爱乐之友协会”大厅――富丽堂皇的维也纳金色大厅被鲜花装点得分外秀丽，维也纳新年音乐会在全球的瞩目下举行，演出的曲目是被称为“圆舞曲之王”的小约翰?施特劳斯及其家族的音乐作品，由世界历史最悠久、素质最高超的乐团之一――维也纳爱乐乐团演奏。新年音乐会展示的是人类最文明、最欢快、最明亮的侧面，高雅、轻松、豪华、热烈是维也纳新年音乐会的最大特点。
作为世界最古老和最著名的乐团，维也纳爱乐乐团对他们要演奏的音乐作品的品位要求极高。但引人注意的是，施特劳斯家族在乐团节目表中的位置比许多伟大的作曲家还高，这些作曲家包括了瓦格纳（Richard
Wagner）和勃拉姆斯（Johannes Brahms）。为什么会有这么著名的新年音乐会？为什么要演奏施特劳斯家族的作品？维也纳爱乐乐团为何成为世界上施特劳斯家族作品的权威演绎者？这些渊源起始于一个半世纪以前。
1848年：维也纳新年音乐会的发轫 日，一场音乐会正在维也纳郊外一个露天舞台举行。当时莱比锡一家报纸描述道：“指挥是一个卷发，肤色黝黑的人。他的嘴唇微向上翘，给人一种富有天才的印象。他举起小提琴，随着琴头的摇动，明快流畅的音乐便从一个规模虽小但素质很高的乐队中飘荡出来。”
这个肤色黝黑，“类似摩尔人”的指挥，便是老约翰?施特劳斯――辉煌的施特劳斯音乐家族的创始者。当时他组织了一个乐队在全欧洲巡演，声誉载道。这次音乐会一直进行到1848年新年的钟声敲响时，乐队演奏了维也纳著名作曲家约瑟夫?海顿（Josef
Haydn）的一首作品，作为对新年的庆祝。接着乐队演奏了施科泽（John Georg Scherzer）的一首歌曲（这首歌曲后来几乎成为维也纳民谣）：“跳吧，唱吧，无论我们是富裕还是贫穷……”随后乐队开始持续演奏欢快的舞曲：圆舞曲、波尔卡、连德勒……音乐会变成了盛大的舞会，整个场地就是舞场，听众跟随着音乐翩翩起舞，精彩的作品则被要求加演，两次、三次甚至更多次……欢乐的舞会一直持续到天明。
一个半世纪前的这场音乐会，就是现在维也纳新年音乐会的发轫。
1873年：小约翰?施特劳斯与维也纳爱乐乐团的首次合作
日，为了庆祝维也纳金色大厅里球型建筑的落成，小约翰?施特劳斯指挥维也纳爱乐乐团演出了他的作品《维也纳的高贵血统》（Op.354）。据记载，施特劳斯是边演奏小提琴边指挥。当时的报道写道：“乐团尽职尽则、全心全力地演奏，使演出获得了‘施特劳斯式’的成功”。观众反映热烈，使得这首曲子不得不再加演一遍。这次音乐会的成功，奠定了“圆舞曲之王”和“严肃的”维也纳爱乐乐团合作的基础。
日，在维也纳召开了世界博览会，小约翰?施特劳斯指挥维也纳爱乐乐团演奏了他家族的许多作品，其中包括著名的《蓝色多瑙河》。
1899年：与“圆舞曲之王”的告别
由于小约翰?施特劳斯有自己的乐团，因此很少和维也纳爱乐乐团合作，但两者的私下交情还是非常好。1894年10月，为纪念小约翰?施特劳斯从事指挥生涯五十周年，维也纳爱乐乐团举行了系列音乐会。小约翰?施特劳斯发来致谢电报：“在此我深表感谢，感谢乐团艺术家们的精彩表演和由此带给我的巨大欢乐。约翰?施特劳斯”。
日，小约翰?施特劳斯的歌剧《蝙蝠》首演时，作曲家指挥乐团在维也纳歌剧院演奏了序曲。但就在歌剧演出的期间，小约翰?施特劳斯染上了风寒，引发肺病，于日不幸逝世。
1921年：施特劳斯纪念碑的落成
即使伟大的作曲家逝世之后，维也纳爱乐乐团也并没有立刻成为他坚定的拥护者。1902年，维也纳爱乐乐团演奏了小约翰?施特劳斯的《春之声》（Op.410）和《美酒、女人与歌曲》（Op.333），这次演出产生了深远的影响。
真正的转折点出现在1921年。当时，为了庆祝在维也纳的小约翰?施特劳斯纪念碑的落成，著名指挥家阿图尔?尼基什（Arthur
Nikisch）指挥维也纳爱乐乐团演出了作曲家的《艺术家的生涯》（Op.316）、《蓝色多瑙河》、《美酒、女人与歌曲》等作品。由于尼基什当时巨大的声望和影响，许多指挥家都开始模仿他演奏施特劳斯家族的作品。日，为了纪念作曲家诞辰一百周年，指挥大师魏因加特纳（Felix
von Weingartner）指挥演出了《蓝色多瑙河》，在此之前这部作品已成为维也纳爱乐乐团在10月17日和18日的国际旅行演出的保留曲目和返场曲目。日的这场音乐会也是有史以来第一次全部是由施特劳斯家族作品组成的音乐会。
1929年：演奏施特劳斯作品传统的形成
维也纳爱乐乐团形成了演奏施特劳斯作品的传统得益于当时一位施特劳斯作品的狂热拥护者：克莱门斯?克劳斯（Clemens
Krauss）。日，他在奥地利萨尔茨堡指挥维也纳爱乐乐团举行了全部由施特劳斯家族作品组成的系列音乐会。由于音乐会巨大的成功，一直到1933年，他每年都举行类似的音乐会。当然，音乐会的作品除了小约翰?施特劳斯的作品外，还有其家族别人的作品，这就是新年音乐会的雏形。
1939年：第一次新年音乐会
当今世界最著名的维也纳新年音乐会的诞生是不同寻常的，它开始于乐团晦暗的年代――1939年，当时在欧洲爆发的战争演化成了第二次世界大战。由于局势变化很快，乐团内部出现了很多派别，各持自己的主张。就在这个紧要关头，乐团举行了一场全部由施特劳斯家族作品组成的音乐会，它向外界发布一个信息（这个信息远远超出了音乐的本身），表明了维也纳爱乐协会和维也纳爱乐乐团对奥地利的忠诚。
这场音乐会于日举行，30日举行了公开的排演。这次演出日后成了奥地利丰厚的文化传统的一部分。第一次真正意义上的新年音乐会是日的那次，指挥同样是克莱门斯?克劳斯。在战争年代，克劳斯掌管维也纳爱乐乐团的音乐会演出和爱乐乐团的私立学校，直到第二次世界大战结束。1945年1月，在战后艰难的岁月中，维也纳爱乐乐团依然忠诚于奥地利，1945年的举行的新年音乐会在1月2日还加演了一场。
1946年至1947年乐团的指挥换为约瑟夫?克里普斯，尽管他带领乐团首次在美国旧金山举行了新年音乐会，但并没有博得广泛的好评。1948年，克莱门斯?克劳斯重新执掌乐团，直到1954年克劳斯辞世，一共举行了七次新年音乐会。在克劳斯一生指挥的十三次新年音乐会中，他把新年音乐会变成了维也纳的一个非常特殊的音乐活动。尽管没有电视将他的指挥艺术保存下来，但从存留的各种文献上我们仍可以认为，他对施特劳斯家族的作品的演绎至今仍具有权威性。
1955年：与波斯科夫斯基二十五年的合作
克莱门斯?克劳斯的不幸辞世给维也纳爱乐乐团带来个巨大的问题：谁能接替他的位置并继续他的成功？乐团为此召开了几次全体会议，最终选择了威利?波斯科夫斯基（Willi
Boskovsky）。当初这个选择引起了许多的争论，但随着时间的流逝，越来越多的事实证明这是个多么正确的选择。波斯科夫斯基一共指挥了二十五次新年音乐会――从1955年至1979年。他使维也纳新年音乐会获得了如此巨大的成功，因此当他因病退休时，也同时宣告了一个时代的结束。波斯科夫斯基与众不同的是，那种只能在回忆中、在梦境中和施特劳斯的音乐魔力中才能被唤起的奥地利的古老传统，被波斯科夫斯基通过他的指挥、他的小提琴展现出来，让世人全然忘记了身处的时代。在波斯科夫斯基年代，增加了每年12月30日晚上为奥地利军队演出音乐会的传统。值得一提的是，1959年电视台介入了音乐会，由于广播电台和电视的作用，维也纳新年音乐会成为世界最知名的音乐盛会和奥地利音乐文化的象征。
1980年：年度指挥家的出现
当1980年波斯科夫斯基因病退休后，维也纳爱乐乐团选择了洛林?马泽尔（Lorin Maazel）――一位在国际乐坛取得辉煌成就的指挥家。他指挥新年音乐会直至日。从那以后，新年音乐会的指挥每年更换，1987年的指挥是大名鼎鼎的赫伯特?冯?卡拉扬（Herbert
von Karajan），他指挥了一场令人难忘的音乐会，随后是克劳迪奥?阿巴多（Claudio Abbado）（1988年和1991年）、卡洛斯?克莱伯（Carlos
Kleiber）（1989年和1992年）、祖宾?梅塔（Zubin Mehta）（1990年，1995年和1998年）、里卡尔多?穆蒂（Riccardo
Muti）（1993年和1997年），洛林?马泽尔（Lorin Maazel）（1994年，1996年和1999年）。所有这些指挥都是维也纳爱乐乐团当年音乐季中取得最大成功的指挥。1999年洛林?马泽尔指挥的新年音乐会打开了“施特劳斯年”的序幕――1999年是小约翰?施特劳斯逝世100周年，老约翰?施特劳斯逝世150周年。
轻松优雅的维也纳新年音乐会
1987年的新年音乐会，当最后的《拉德茨基进行曲》欢快的旋律响起时，听众情不自禁地应和着节拍鼓掌。这时指挥赫伯特?冯?卡拉扬很有想象力地转过身来，示意观众随着音乐的强弱和节奏来鼓掌，从此以后，每当音乐会最后的《拉德茨基进行曲》响起时，这个音乐家与听众水乳交融的鼓掌场面就成为维也纳新年音乐会的保留节目。
1989年的新年音乐会，当《蓝色多瑙河》乐曲开头的弦乐震音响起时，听众以热烈的掌声表示欢迎。这时，指挥家卡洛斯?克莱伯中断指挥转过身来，向现场听众（同时也通过电视向全球收看直播的听众）说：“让我们迎来一个美好、欢乐与和平的新的一年。”于是以后的新年音乐会又多了一项内容：当《蓝色多瑙河》乐曲开头的弦乐震音被听众掌声打断时，指挥都会转身向广大听众致辞，预祝新年快乐。其中最值得一提的是1996年，洛林?马泽尔用了几十种语言来表达新年祝辞，倒数第二句是他略显生硬的汉语“新年好！”随后是英文“Happy
New Year！”
一个半世纪以来，维也纳爱乐乐团用音乐来纪念施特劳斯家族这些伟大的成员：老约翰?施特劳斯――施特劳斯家族的创始人，将圆舞曲从民间的舞场带入高雅音乐厅的“圆舞曲之父”；小约翰?施特劳斯――第一个将轻喜歌剧带入传统歌剧院的人，创作出大量传世圆舞曲的“圆舞曲之王”；约瑟夫?施特劳斯――第一个将贝多芬的音乐手法融入圆舞曲创作的人；爱德华?施特劳斯――带领“施特劳斯乐团”周游世界，将家族音乐介绍给全世界的人。
一个半世纪以来，维也纳爱乐乐团用音乐来欢迎新年的到来。无论时代沧桑，人事变迁，维也纳新年音乐会的核心并没有改变，那就是对维也纳、对奥地利的热爱，对和平、欢乐和充满艺术生活的向往。
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