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  3. The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-mus

The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-mus

admin2019-11-21  53
问题    The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. "Hooray! At last! " wrote Anthony Tommasini, a sober-sided classical-music critic. One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him "an unpretentious musician with no air of the formidable conductor about him." As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise.
   For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes.
   Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. These recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances; moreover, they can be "consumed" at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.
   One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert’s own interest in new music has been widely noted: Alex Ross, a classical-music critic, has described him as a man who is capable of turning the Philharmonic into "a markedly different, more vibrant organization." But what will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between America’s oldest orchestra and the new audience it hopes to attract.
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答案 自从2009年纽约爱乐乐团突然宣布艾伦-吉尔伯特将担任其下一任音乐总监一职以来，该决定就成为了古典音乐界的热议话题。至少可以说，人们大体上是支持该决定的。一向言行谨慎的古典音乐评论家安东尼-托马西尼写道：“好啊!总算是他了!” 然而，这次委任令人如此惊讶的其中一个原因是，吉尔伯特相对而言不怎么出名。就连在《纽约时报》上拥护吉尔伯特担任此职的托马西尼，也把他称为“一个谦逊的音乐家，没有一点伟大指挥家的慑人气势”。作为曾由像古斯塔夫-马勒和皮埃尔-布列兹这样的音乐家领导的爱乐乐团，其下一任音乐总监被如此评价，很可能至少令一些《纽约时报》的读者感觉这只是苍白的赞美。 就我而言，我不知道吉尔伯特是不是一个伟大的指挥家，或者甚至他是不是一个好的指挥家。诚然，他奉献了许多有趣难忘的曲子，但如果我想听有趣的管弦乐，却不一定得跑去Avery Fisher音乐厅(纽约爱乐乐团主要演出场地)或其他地方。我只需走到CD架旁边，或者启动电脑，从iTunes上下载更多录制好了的管弦乐。 忠实的音乐会常客会反驳说，录制品不能取代现场演奏，但这样说就是没抓住要领。为了赢得广大艺术爱好者的时间、关注和金钱，古典乐器演奏家不仅要和歌剧院、舞蹈团、剧团以及博物馆竞争，还要和20世纪伟大古典音乐家的录制作品竞争。这些录制作品很便宜，随处都可以买到，而且其艺术水准通常比现在的现场演出更高。此外，听众可以自己选择何时何地“消费”这些录制作品。因此，这种录制作品的广泛流传已给传统古典音乐演出行业带来了危机。 古典音乐演奏者一个可能的回应是安排尚无录制作品的有吸引力的新音乐。吉尔伯特对新音乐的兴趣是广为人知的：古典音乐评论家亚历克斯-罗斯描述他是一个能把爱乐乐团变成“显著不同却更有活力的组织”的人。但这种不同的本质是什么?仅仅扩展该管弦乐队的演奏曲目是不够的。如果吉尔伯特和爱乐乐团想获得成功，就必须先得改变这个美国最古老的管弦乐队与它想吸引的新听众之间的关系。
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