{"id":2545,"date":"2008-06-02T14:02:54","date_gmt":"2008-06-02T06:02:54","guid":{"rendered":"https:\/\/absolutemusik.com\/%e8%b2%9d%e7%88%be%e6%a0%bc%e5%bc%a6%e6%a8%82%e5%9b%9b%e9%87%8d%e5%a5%8f%ef%bc%8d%e7%8f%be%e5%a0%b4%e8%a1%a8%e6%bc%94%e5%8f%8a%e5%94%b1%e7%89%87%e9%8c%84%e9%9f%b3\/"},"modified":"2023-03-15T17:44:01","modified_gmt":"2023-03-15T09:44:01","slug":"alban-berg-quartett-live-performance-vs-recordings","status":"publish","type":"post","link":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/","title":{"rendered":"Alban Berg Quartett – Live Performance VS Recordings"},"content":{"rendered":"

(REMARK: English Translation will be available later.)<\/p>\n

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\u7b2c\u4e00\u9996\u662f\u6d77\u9813(Haydn)<\/strong>\u7684\uff24\u5927\u8abf\u5f26\u6a02\u56db\u91cd\u594f(String Quartet in D. Op. 20. No 4)<\/strong>\uff0c\u8072\u91cf\u662f\u8db3\u5920\u7684\uff0c\u611f\u89ba\u4e5f\u4e0d\u932f\uff0c\u53ef\u662f\u597d\u50cf\u7f3a\u5c11\u4e86\u53e4\u5178\u7684\u7f8e\u3000\u9084\u6709\uff0c\u6211\u76f8\u4fe1\u9019\u500b\u7d44\u5408\u9700\u8981\u591a\u4e00\u9ede\u6642\u9593\u78e8\u5408\uff0c\u4e3b\u89c0\u89ba\u5f97\u300c<\/span>\u9020\u53e5\u300d<\/span>\u4e0d\u5920\u81ea\u7136\u3002<\/span>\u7b46\u8005\u4e5f\u6709\u4e00\u500b\u5947\u60f3\uff0c\u6d77\u9813<\/strong>\u7684\u97f3\u6a02\u6709\u4e00\u4efd\u53e4\u820a\u7684\u6c23\u606f\uff0c\u82e5\u4ed6\u5011\u7528\u4e0a\u9577\u5f13\u53bb\u62c9\uff0c\u4e00\u5b9a\u5225\u6709\u5473\u9053\u3002<\/span><\/p>\n

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\u5c0f\u4f11\u4e4b\u5f8c\uff0c\u4fbf\u662f\u7b2c\u4e09\u9996\u6bd4\u8f03\u9577\u7684\u8c9d\u591a\u82ac\u7684\u8457\u540d\u56db\u91cd\u594f\u4f5c\u54c1\u3002\u660e\u986f\u5730\uff0c\u8c9d\u723e\u683c\u5f26\u6a02\u5718\u662f\u6b21\u7684\u6f14\u51fa\u4e4b\u4e2d\uff0c\u9019\u4e00\u6a02\u7ae0\u662f\u767c\u63ee\u5f97\u6bd4\u8f03\u597d\u7684\u3002<\/span>\u53ef\u80fd\u662f\u4ed6\u5011\u5c0d\u9019\u4e00\u6a02\u7ae0\u662f\u6bd4\u8f03\u719f\u6089\uff0c\u6c92\u6709\u592a\u5927\u7684\u904e\u5931\uff0c\u53ea\u662f\u97f3\u91cf\u5c11\u4e86\u4e00\u9ede\uff0c\u8ac7\u4e0d\u4e0a\u9a5a\u559c\uff1b\u4f46\u9084\u53ef\u4ee5\u4e00\u500b\u5408\u7406\u7684\u901f\u5ea6\u548c\u9020\u53e5\u91cd\u73fe\u5404\u500b\u4e3b\u984c\u3002<\/span><\/p>\n

\u8b1b\u5230\u9019\u88e1\uff0c\u4ee4\u6211\u60f3\u8d77\u4ee5\u5f80\u7684\u8c9d\u723e\u683c\u5f26\u6a02\u5718\uff0d\uff0d\u5728\u904e\u53bb\u7684\u65e5\u5b50\uff0c\u4ed6\u5011\u4e0d\u51e1\u7684\u9b45\u529b\uff0c\u5be6\u5728\u4ee4\u4eba\u96e3\u5fd8\u3002<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

(REMARK: English Translation will be available later.) 在２００７年５月的最後一個周六，貝爾格弦樂團在轉換了中提琴手之後，第一次到港演出。本人也與幾位好友一同到大會堂欣賞，當翻開場刊後有點差異，因很少見到外國樂團大膽地演出一些新的作品－－今次的例外只是為了紀念去世中提琴手湯馬士．卡庫斯卡(Thomas Kakuska)。 第一首是海頓(Haydn)的Ｄ大調弦樂四重奏(String Quartet in D. Op. 20. No 4)，聲量是足夠的，感覺也不錯，可是好像缺少了古典的美　還有，我相信這個組合需要多一點時間磨合，主觀覺得「造句」不夠自然。筆者也有一個奇想，海頓的音樂有一份古舊的氣息，若他們用上長弓去拉，一定別有味道。 到了第二部份，也正是主題，奏出了一首大家都比較陌生的作品－由里姆(Rihm)寫的極緩板(Grave)－這曲意景是非常深奧，予以表達他們對失去的朋友的懷念；當中有很多地方是表現零碎的記憶。可惜的是，從現場聽眾有些差點睡著的反應，我相信不是很多人能夠意會到其中的點滴。另外，中提琴和大提琴好像不是配合得太好，有兩段由中提琴轉到大提琴的音律，有點不自然的慢。 小休之後，便是第三首比較長的貝多芬的著名四重奏作品。明顯地，貝爾格弦樂團是次的演出之中，這一樂章是發揮得比較好的。可能是他們對這一樂章是比較熟悉，沒有太大的過失，只是音量少了一點，談不上驚喜；但還可以一個合理的速度和造句重現各個主題。 講到這裡，令我想起以往的貝爾格弦樂團－－在過去的日子，他們不凡的魅力，實在令人難忘。<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[345],"tags":[],"class_list":["post-2545","post","type-post","status-publish","format-standard","hentry","category-music-appreication-notes"],"aioseo_notices":[],"yoast_head":"\nAlban Berg Quartett - Live Performance VS Recordings - absolutemusik.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alban Berg Quartett - Live Performance VS Recordings - absolutemusik.com\" \/>\n<meta property=\"og:description\" content=\"(REMARK: English Translation will be available later.) 在２００７年５月的最後一個周六，貝爾格弦樂團在轉換了中提琴手之後，第一次到港演出。本人也與幾位好友一同到大會堂欣賞，當翻開場刊後有點差異，因很少見到外國樂團大膽地演出一些新的作品－－今次的例外只是為了紀念去世中提琴手湯馬士．卡庫斯卡(Thomas Kakuska)。 第一首是海頓(Haydn)的Ｄ大調弦樂四重奏(String Quartet in D. Op. 20. No 4)，聲量是足夠的，感覺也不錯，可是好像缺少了古典的美　還有，我相信這個組合需要多一點時間磨合，主觀覺得「造句」不夠自然。筆者也有一個奇想，海頓的音樂有一份古舊的氣息，若他們用上長弓去拉，一定別有味道。 到了第二部份，也正是主題，奏出了一首大家都比較陌生的作品－由里姆(Rihm)寫的極緩板(Grave)－這曲意景是非常深奧，予以表達他們對失去的朋友的懷念；當中有很多地方是表現零碎的記憶。可惜的是，從現場聽眾有些差點睡著的反應，我相信不是很多人能夠意會到其中的點滴。另外，中提琴和大提琴好像不是配合得太好，有兩段由中提琴轉到大提琴的音律，有點不自然的慢。 小休之後，便是第三首比較長的貝多芬的著名四重奏作品。明顯地，貝爾格弦樂團是次的演出之中，這一樂章是發揮得比較好的。可能是他們對這一樂章是比較熟悉，沒有太大的過失，只是音量少了一點，談不上驚喜；但還可以一個合理的速度和造句重現各個主題。 講到這裡，令我想起以往的貝爾格弦樂團－－在過去的日子，他們不凡的魅力，實在令人難忘。\" \/>\n<meta property=\"og:url\" content=\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\" \/>\n<meta property=\"og:site_name\" content=\"absolutemusik.com\" \/>\n<meta property=\"article:published_time\" content=\"2008-06-02T06:02:54+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-15T09:44:01+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/absolutemusik.com\/en\/#\/schema\/person\/9c0ce0ceb993b9ec0ca2339d65245950\"},\"headline\":\"Alban Berg Quartett – Live Performance VS Recordings\",\"datePublished\":\"2008-06-02T06:02:54+00:00\",\"dateModified\":\"2023-03-15T09:44:01+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\"},\"wordCount\":26,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/absolutemusik.com\/en\/#\/schema\/person\/9c0ce0ceb993b9ec0ca2339d65245950\"},\"articleSection\":[\"Music Appreciation Notes (Webmaster)\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\",\"url\":\"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/\",\"name\":\"Alban Berg Quartett - 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Live Performance VS Recordings - absolutemusik.com","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/","og_locale":"en_US","og_type":"article","og_title":"Alban Berg Quartett - Live Performance VS Recordings - absolutemusik.com","og_description":"(REMARK: English Translation will be available later.) 在２００７年５月的最後一個周六，貝爾格弦樂團在轉換了中提琴手之後，第一次到港演出。本人也與幾位好友一同到大會堂欣賞，當翻開場刊後有點差異，因很少見到外國樂團大膽地演出一些新的作品－－今次的例外只是為了紀念去世中提琴手湯馬士．卡庫斯卡(Thomas Kakuska)。 第一首是海頓(Haydn)的Ｄ大調弦樂四重奏(String Quartet in D. Op. 20. No 4)，聲量是足夠的，感覺也不錯，可是好像缺少了古典的美　還有，我相信這個組合需要多一點時間磨合，主觀覺得「造句」不夠自然。筆者也有一個奇想，海頓的音樂有一份古舊的氣息，若他們用上長弓去拉，一定別有味道。 到了第二部份，也正是主題，奏出了一首大家都比較陌生的作品－由里姆(Rihm)寫的極緩板(Grave)－這曲意景是非常深奧，予以表達他們對失去的朋友的懷念；當中有很多地方是表現零碎的記憶。可惜的是，從現場聽眾有些差點睡著的反應，我相信不是很多人能夠意會到其中的點滴。另外，中提琴和大提琴好像不是配合得太好，有兩段由中提琴轉到大提琴的音律，有點不自然的慢。 小休之後，便是第三首比較長的貝多芬的著名四重奏作品。明顯地，貝爾格弦樂團是次的演出之中，這一樂章是發揮得比較好的。可能是他們對這一樂章是比較熟悉，沒有太大的過失，只是音量少了一點，談不上驚喜；但還可以一個合理的速度和造句重現各個主題。 講到這裡，令我想起以往的貝爾格弦樂團－－在過去的日子，他們不凡的魅力，實在令人難忘。","og_url":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/","og_site_name":"absolutemusik.com","article_published_time":"2008-06-02T06:02:54+00:00","article_modified_time":"2023-03-15T09:44:01+00:00","author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/#article","isPartOf":{"@id":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/"},"author":{"name":"admin","@id":"https:\/\/absolutemusik.com\/en\/#\/schema\/person\/9c0ce0ceb993b9ec0ca2339d65245950"},"headline":"Alban Berg Quartett – Live Performance VS Recordings","datePublished":"2008-06-02T06:02:54+00:00","dateModified":"2023-03-15T09:44:01+00:00","mainEntityOfPage":{"@id":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/"},"wordCount":26,"commentCount":0,"publisher":{"@id":"https:\/\/absolutemusik.com\/en\/#\/schema\/person\/9c0ce0ceb993b9ec0ca2339d65245950"},"articleSection":["Music Appreciation Notes (Webmaster)"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/","url":"https:\/\/absolutemusik.com\/en\/alban-berg-quartett-live-performance-vs-recordings\/","name":"Alban Berg Quartett - 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