一些年轻乐手缺乏经验,在英国的资深音乐家便通过视频会议在这些乐手到达奥德伯格之前对他们授课指导。以前在奥德伯格,每个部在合练之前都要配一个专家单独训练一周。好些专家便会跟着指挥和他们的学生一起排练演奏,这对部分学生来说是终生难忘的经历。da Silva就在她的脸谱上发状态说道今天发生了不可思议的事:我和柏林爱乐乐团首席低音提琴手一起演奏了。这太让人难以置信了!
It was important, Sir Mark says, to set the musical bar very highand then ensure that theyget up there. Setting a high bar meant choosing a demanding repertoire: the strange andambiguous Fifth Symphony that Dmitri Shostakovich wrote in 1937 when he had fallen outof grace with Stalin and the Communist Party, but was determined to go on composing inRussia, and the Sinfonia da Requiem, with its brilliant brass fanfares and heavy funeralmarch, that Britten wrote in 1940 as Europe was engulfed in war.
马克爵士指出先把音乐标准设高一些,再确保他们能达到这一标准至关重要。设置高门坎就意味着要挑选一些高难度的曲目:德米特里肖斯塔科维奇1937年写的晦涩难懂,风格古怪的《第五交响乐》,当时的他已失宠于斯大林,共产党对他也不再尊崇,但他毅然决然继续留在俄罗斯创作。再有就是布里顿1940年写的《安魂交响曲》精彩绝伦的热闹铜管演奏,伴上沉重的葬礼进行曲,相辅相成,成就了一曲绝响。
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