Mozart: Symphonies No.39-41
Antonello Manacorda / Kammerakademie Potsdam (Sony)
(scroll down for English review)
一直都想介紹馬納柯達這位意大利指揮，乍看他只是執掌波茨坦室樂團，好像算不上一線指揮，其實在柏林、維也納、慕尼黑的頂尖樂團及歌劇院，經常請他擔任客席指揮，他最拿手就是古典派及早期浪漫派曲目。
近年實在太流行將莫扎特最後三首交響曲併在一起，也不介意要用兩張CD去放，以求保留重覆。馬納柯達對演奏方法的取態，我為概括為以現代樂器、小樂隊編制，作輕微的倣古演奏。他不會追求過度神經質的演奏，於是聲音也會以優美為優先。
樂曲詮釋方面，我特別欣賞他很細緻地營造劇力，有些古樂指揮太追求一蹴而就，一來就給你他心目中的終極音色、節奏、造句，可是一首莫扎特交響曲可以有半小時，頭一分鐘你就這樣，往後我還有甚麼去聽呢？於是就只有重覆再重覆。馬納柯達就讓人有音樂在發展、演化的感覺，哪管音樂早已寫好，還是需要去尋覓終點。
而三首交響曲，我覺得馬納柯達也塑造成重、輕、重的三段結構，尤其是《第40交響曲》，不是一味追求躁動劇力，反而很有輕盈的舞動感覺，在兩首大調交響曲之間作一點輕鬆調劑。
Antonello Manacorda only has one permanent post at the Kammerakademie Potsdam, but don’t ever think he’s not in the map. He’s a frequent guest at the major orchestras and opera houses of Berlin, Vienna, Munich, making his name as a remarkable exponent of Classical and early Romantic repertoire.
Manacorda’s sound for the “final Mozart trilogy” is a small ensemble of modern instruments, slightly incorporating HIP suggestions. He avoids unnecessary hype and keeps the orchestra playing with very pleasant tone, despite the HIP influences.
As for the interpretation, I admire his insistence in shaping the piece, allowing it to unfold and develop before our eyes. Too many period music conductors simply give you the ultimate sound, rhythm and phrasing at the start. But hey, what am I going to listen for the rest of the 30 minutes? Instead of tedious repetition Manacorda takes us on the search for the destination.
Likewise the three symphonies are here shaped as an arch, with the 40th Symphony as a spot of repose. Quite unusually Manacorda handled it like a light dance, instead of some sort of “fate” symphony.