Mahler: Symphony No.5
Kahchun Wong / Japan Philharmonic (Denon)
(scroll down for English review)
新加坡指揮黃佳俊將於2023年出任日本愛樂的總指揮，幾年前他憑着在班貝格舉行的馬勒指揮大賽奪得第一名而成名，這是他第一張唱片，曲目正是拿手的馬勒《第五交響曲》，於去年12月錄製，當時他仍是該團的首席客席指揮。
由於在六月初聽過黃佳俊指揮德累斯頓愛樂，對這個錄音還是有一點期望，當然也不會是對着頂尖指揮那種期望。和一般商業錄音比較，音響上這個錄音是有點怪，因為樂器之間分得太開，不是說物理距離那種遠，而是混音很像分鏡頭般，在樂器之間跳來跳去，而樂器又錄得很近，所以既不怎麼像在現場聽音樂會，也不像正常的錄音。
但在演奏上，上次我現場聽黃佳俊指揮拉赫曼尼諾夫《第二交響曲》，最為欣賞他的耐性及淡定，很願意把每一句奏好。聽這張馬勒，最令我覺得特別是造句很細緻，很用心的唱出來，這些特質，卻又很能在不大合標準的混音及收音用展露出來。說不上是值得推介的馬勒五新錄音，但我還是很有樂趣地聽到最美，不過想聽小慢板中澎湃弦樂的朋友應該會失望。
Singaporean conductor Kahchun Wong was a winner at the Mahler Conducting Competition and has just been appointed the next Chief Conductor of the Japan Philharmonic, starting from 2023. This 2021 recording was made with this orchestra and is Wong’s CD debut.
My previous encounter of him was a Dresden Philharmonic last June. I was impressed so I had some expectations from this CD, which was supposed to be his warhorse. Of course, I wouldn’t treat him as first rank but even so, his music making was anything but routine.
Although the label Denon was quite famous for their audiophile recordings, this one was below standard. The mixing placed too much spotlight on specific instruments at the moment, and the miking was too close which reveal a roughness usually not found in first-rated orchestras.
But I still enjoyed this CD because Wong was very diligent in making every phrase counts and sings. Thus he achieved an intensity which wasn’t brought about by brute force, although I must admit Adagietto-lovers will feel underwhelmed.