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听柴赛冠军如何演绎圣·桑 Review:Saint Sa?ns Piano Concertos 2019年柴可夫斯基国际比赛冠军亚历山大·坎托罗（生于1997年）的独奏音乐会和唱片赢得了众多好评，有人说：“亚历山大是李斯特转世。我从来没有听过任何人像他那样弹钢琴”；还有人将他称作“年轻的钢琴沙皇”。
▽圣桑《第三协奏曲》▽
Whether a coincidence or deliberate, this is a third significant Saint-Sa?ns recording coming our way within a few months, after Chamayou and Lortie’s accounts covered here last year. This album, surprisingly, does not contain the best-known concerto (No. 2) as both previous albums did, and presents an attractive program of concertos No. 3-5, with a CD filled with 81 minutes of music.
无论是巧合还是有意为之，坎托罗录制的这张专辑是继去年贝特兰·查梅和路易斯·洛蒂相继录制圣桑唱片后的几个月内，第三个十分重要的圣桑作品录音专辑。令人惊讶的是，这张专辑并没有像以往的专辑那样包含那首最著名的《第二协奏曲》，而是提供了具有吸引力的曲目，其中CD总时长为81分钟。The Third Concerto is rather neglected even compared to the rest of the concertos, which are not programmed often on concerts (a small resurrection is happening with the “Egyptian” Concerto as of late). From the opening bar of this performance, it is remarkable how clear and chamber-like is the exchange of musical phrases between soloist and orchestra. 《第三协奏曲》和其他的协奏曲相比，几乎是被忽略的，它不经常出现在音乐会的节目单上，最近《第五协奏曲》（“埃及”）有一次小小的复兴。表演开始的几小节，独奏家和管弦乐队之间的音乐短语交流十分清晰，正如同室内乐一般。
The Tapiola Sinfonietta, a 40 players group, allows for this transparency without ever wanting in fullness, nor projecting detached coldness as can often happen with smaller ensembles. as can often happen with smaller ensembles. 塔皮奥拉交响乐团，一个有着40位演奏家的团体，他们允许这种通透性，而不是一味的想要丰富，也不会像小型合奏那样，表现出一种超然的冷酷。The slow movement is wonderful here (listen to the lovely-voiced first entry of the pianist), as well as the finale, where Kantorow’s playfulness with the piano role is executed with little pedal and impressive finger work.慢板乐章在这里很精彩（听钢琴家开头精美绝伦的声音），以及终曲坎托罗在钢琴上运用少量的踏瓣和生动的手指活动表现出的嬉闹情景。
When we get to the darker Fourth Concerto, we enter into a more intimate, inward sound, much missing from the latest Lortie performance. The strings here playing with little to no vibrato, yet executing the musical argument with the utmost affection. 当我们继续到暗淡的《第四协奏曲》时，我们会走进一个更加亲密，内向的声音，这无法从路易斯·洛蒂的表演中感受到。弦乐在这里很少甚至没有演奏颤音，但却以最大的感情演奏音乐对话。Kantorow sounds freer here in the piano part, adding more pedal and arpeggios in the left hand, taking us back to past performance as the famous Cortot version (Naxos). 坎托罗在钢琴演奏的部分听起来更加的自由，更多地使用踏瓣以及增加了左手琶音，让我们想起过去十分著名的Cortot演奏的Naxos唱片版本。
The only drawback is that the choral-like wind segment at the first movement (5:00 onward, track 4), could have been played with more character and overall balance (Stephen Hough with the CBSO has the edge here), yet Kantorow’s response is so charming one soon forgets about this tiny detail. 唯一的缺点是第一乐章合唱风格段（5:00开始，第4首），可以演奏得更具特色和整体平衡（史蒂芬·霍夫和伯明翰市立交响乐团的版本在此处体现更有优势），但坎托罗回应是如此的迷人以至于让人很快忘记了这个微小的细节。Another highlight is the slow segment in the second (and last) movement, where the pianist embraces a French salon style (5:20, track 5), again reminiscent of a style long gone. Or right after this segment, where he moves on to the waltz-like rhythm with a superb pizzicato accompaniment from the strings. The highly difficult technical challenges that follow until the end of the movement are met with impressive accuracy.另一个亮点是在第二和最后一个乐章中的慢板段落，钢琴家采用法式沙龙风格（5:20，第5首），再次让人联想到一种早已消失的风格。或者在这一段之后，他用华尔兹式的节奏继续演奏，伴随着弦乐精彩的拨弦伴奏。这非常困难的技术挑战持续着直到最后一个乐章结束，他们的准确度令人印象深刻。
The Fifth (“Egyptian”) Concerto finds the soloist, orchestra and conductor on top form, with an exciting performance as any. Examples are numerous but few should be pointed out. The dramatic short crescendos by the strings in the first movement, the contrapuntal clarity and the slowing down towards the second movement, which is given a mesmerizing treatment (2:00 onward – and this time the woodwind sound terrific). 《第五协奏曲》（“埃及”）让独奏者，管弦乐队以及指挥者找到了最佳形式，其表演前所未有地令人兴奋。例子很多但少部分应该被指出。第一乐章中弦乐的戏剧性短暂渐强，对位清晰度以及向第二乐章放慢速度，给人一种迷人的处理（2:00开始——这次木管乐声极好）。Kantorow catch the essence of this somewhat elusive concerto, making sense of the changing moods and characters that makes many other performances fall down. The oriental inspired second movement is nice and punchy (though a tad exaggerated timpani). 坎托罗捕捉到了这个有点难以捉摸的协奏曲的精髓，让人感觉到变化的情绪和角色，这使得其他人的表演都不及他。东方风格的第二乐章很精彩也很有力，虽然定音鼓有点夸张。
It’s hard competing with Chamayou’s fascinating voicing of the piano part, maybe the best on record. Yet this is certainly a dynamic and enjoyable account, which can stand the comparison with the best (some alternatives listed below).这很难与贝特兰·查梅精彩的钢琴演奏部分相比较，也许是有史以来最好的。然而，这一定是一个动态的有意思的事件，可以与最好的进行比较。In the marketing material that accompanied this release, BIS hinted at a complete cycle. This album will make listeners eager to hear the first two concertos and, hopefully, the rest of Saint-Sa?ns’ concertante works for piano and orchestra. Recommended.在此版本附带的营销材料中，BIS唱片公司暗示了将发行一个完整的系列。这张专辑将让听众不单单听到前两套协奏曲，同时有望听到除此之外圣桑余下的钢琴协奏曲。强烈推荐。
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