His concerto is performed so often that itsemotional depth can easily be overlooked. Yet theNorwegian was, above all, a master of the miniaturewith a particular ability to convey emotionalsubtlety within the confines of a single phrase orchord progression. Ms Ott, who always plays in barefeet, marked these nuances with an unusuallightness and a tenderness that is more oftenassociated with the intimacy of chamber music orsolo 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, laidbare the simple, tremolo harmonies of the string section and emphasised the delicate lyricismof the melody. Ms Ott was at her best in these moments, employing a lucid technique, warmtouch 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。
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