经济学人下载:浪漫时期作品的演奏天才

His concerto is performed so often that its emotional depth can easily be overlooked. Yet the Norwegian was, above all, a master of the miniature with a particular ability to convey emotional subtlety within the confines of a single phrase or chord progression. Ms Ott, who always plays in bare feet, marked these nuances with an unusual lightness and a tenderness that is more often associated with the intimacy of chamber music or solo performances.

格里格的这首协奏曲被演奏了很多次，所以人们很容易忽视它的情感深度。但是这位挪威作曲家，却拥有着特殊的才能，即使在单一乐句与和弦行进的局限下，也能将细腻的情感浓缩到乐曲当中。奥特一如既往赤脚上阵，轻盈而又柔和的诠释着这些微妙的情感，这种演奏方式更容易让人联想到细腻的室内音乐还有独奏表演。

The slow theme of the third movement, first by the flute, then echoed in the piano part, laid bare the simple, tremolo harmonies of the string section and emphasised the delicate lyricism of the melody. Ms Ott was at her best in these moments, employing a lucid technique, warm touch and close ensemble with the orchestra.

乐曲的第三乐章慢板，首先由长笛演奏旋律，然后加入钢琴与长笛形成轮奏，平铺直叙琴弦部分简单的颤音和声，着重刻画柔和的抒情旋律。运用娴熟的技术，温和的弹奏还有与乐队紧凑的配合，奥特最擅长弹奏这种风格的音乐。

A product of the late Romantic period, the concerto also has its heroic symphonic sections. Ms Ott delivered cascading double octaves, arresting chords and keyboard-sweeping arpeggios with great control. The Royal Stockholm Philharmonic Orchestra also gave an impressive performance under Sakari Oramo.

作为浪漫晚期的作品，格里格的协奏曲也有英雄交响曲式的部分。为了诠释这部分的音乐，奥特准确地控制着和弦和琴键，如瀑布倾泻一样向下琶音弹奏两个八度。皇家斯德哥尔摩爱乐管弦乐队，在沙卡里．欧拉莫的指挥下，也为大家呈现了一场印象深刻的演出。

Ms Ott chose as her encore another popular concert-hall piece, Liszt’s “Grandes Études de Paganini No. 3”, nicknamed “La Campanella”. Liszt, himself a piano prodigy, also adored Grieg’s concerto. When he visited the Norwegian in Rome in 1870, he purportedly sight-read the concerto in its entirety, leapt up in delight and exclaimed to Grieg, “You carry on, my friend; you have the real stuff in you. And don’t ever let them frighten you!” These words could also be valid for the precocious Ms Ott. Her performance established her once again as an artist to watch.

奥特的返场曲目同样是一首著名的音乐会演奏曲目。李斯特的“主题大练习曲第三首”诨名“钟”。李斯特，作为一位钢琴天才，也十分喜爱格里格的协奏曲。据说，他于1870年拜访格里格时，就完整地试奏了这首奏鸣曲曲，弹完之后，他高兴滴跳起来对格里格说：“继续写下去，我的朋友，你有真材实料，尽情施展你的才华吧！”这些话对天才奥特也同样适用，她这次的演出使她再一次成为众人瞩目的艺术家。