(scroll down for English review)
尼遜爾的理察史特勞斯套裝的最後幾首。
軌78-80：《變形》（萊）。不試圖將23支弦樂融合成一個整體，即使是和弦，甚至是奏同一個音，都去追求最大最強的聲音，但這樣不一定是好的弦樂演奏。
軌81-87：《家庭交響曲》（波）。我對這首作品有特別感情，並不是因為家庭主題，而是它把三個主題變出很多層次的45分鐘樂曲。尼遜斯在第一樂章（軌81至83）已把三個主題很生動地奏出，兩段慢板（軌85搖籃曲、軌86的夫妻溫馨場面）都奏得很深情，終曲的賦格刺激又乾淨，就只差音響未夠上乘，可惜。
軌88：《無影女》交響幻想曲（波）。《無影女》我認為是史特勞斯歌劇中，繼《Elektra》以來對管弦樂運用的另一個高峰，樂隊用得大但不是一個嘈字，而這個抽取劇中旋律而成的交響幻想曲，雖然把樂隊縮小了一點，仍保留到箇中力量及色彩。正因為是波士頓錄音，又被音響範疇打了折扣，不同樂器都聽到，但不能成為一抹抹的色彩，結果就是亂及煩。
軌89-92：《來自意大利》（萊）。在世指揮最喜歡這首樂曲的，可能就是慕提，但尼遜斯有資格在往後幾十年宣揚這曲。像德伏扎克或史麥塔納多過德奧樂派的交響詩，或者未夠成熟及嚴肅，但尼遜斯當成管弦showpiece來演奏，雄偉詩意俱全，令人相當痛快，是不是太俗、或者史特勞斯誤把Funiculi Funicula當成可隨意引用的民歌都已不重要。
軌93：《節日前奏曲》（波及萊）。萊比鍚到波士頓作客，和主隊合作這首五管編制作品，管風琴獨奏是Olivier Latry。此作是在1913年寫來為維也納音樂廳（不是黃金廳那楝）開幕用，擺明車馬要大鑼大鼓，崇高氣氛最像華格納《名歌手》第一幕前奏曲。一聽無妨，多聽無謂，其實在現場聽才好。明明在音響頂尖的波士頓交響廳灌錄，又被這邊的錄音團隊糟蹋了。（完）
Tracks 78-80: Metamorphosen (Leipzig). A conscious attempt to avoid blending the 23 strings into a whole, even when playing chords. Nelsons was seeking to produce the most forceful sound but that might have gone against the good taste of string ensemble playing.
Tracks 81-87: Symphonia Domestica (Boston). I have a weakness to this piece as I admire Strauss’ wizardry in turning three themes into one massive 45-minute work. Nelsons engaged shaping of the three themes is proof of his excellence as a Strauss interpreter, and the two slow sections were sweetly and passionately played. The fugal finale was executed with both power and precision, but this being a Boston recording the engineering was again the Achilles’ heel.
Track 88: Die Frau ohne Schatten Symphonic Fantasy (Boston). Again I have a special interest in this mammoth opera for its orchestral mastery. Although reduced to triple woodwind, this Symphonic Fantasy still retained most of the colours of the original. Once again the engineering only managed to mix everything into a mish-mash.
Tracks 89-92: Aus Italien (Leipzig). Muti has been a champion of this neglected piece for decades and I think he could pass the torch to Nelsons. Although it sounded more like a Dvořák or Smetana symphonic poem Nelsons still delivered it as a Straussian showpiece. Given such extravagance it hardly matters if the piece is actually sub-par Strauss.
Tracks 93: Festive Prelude (Leipzig + Boston). The Leipzigers traveled to Boston and joined ranks with the home orchestra for this quintuple-woodwind bonanza. Olivier Latry played the organ solos. Very, perhaps too reminiscent of the Mastersingers Prelude in its loftiness and sheer volume, this work was written to inaugurate the Vienna Konzerthaus in 1913. A piece that should be enjoyed (as a blast) in the concert hall, the Boston engineers again succeeded in reducing its impact for home listeners.