|《美国录音指南》（American Recording Guide）今年3/4月期（March/April 2010）有一篇对柏林爱乐在卡耐基这三场音乐会的review. 写得还不如这位“勃拉姆斯迷”细致：
The Carnegie Hal series opened with Schoenberg's lush orchestration of Brahms's Piano Quarter No. 1, paired with Brahms's Symphony No. 1. The Piano Quartet performance was a curious thing: Schoenberg filled in the orchestral textures with great skill, but I missed the richness of Brahms's inner voices. The performance gave the impression of a sound check: the bass section sounded thicker than in the past, and I missed the violins' astonishing silvery sheen. But the sound coalesced as the piece unfurled, and the players were decidedly on their game by the robust "Gypsy" rondo finale, playing full forte "schmalzando".
Symphony No. 1 made a vivid contrast. After the rousingly kitschy reading of that Gypsy-dance finale, the symphony's pounding opening movement sounded like a wake-up call on Judgment Day. Brahms felt that he labored in the shadow of Beethoven, but his symphonic structures broke away from the old sonata formula. The individual movements are episodic and intense, and the challenge is to limn the ebb and flow while maintaining the continuity. In Rattle's deconstructionist approach, the whole suffered from micromanagement of individual sections.A grand pause over-used is a dead stop. I left the hall very frustrated.
Brahmsian wrote: (02/13/10 21:06)
非常同意您的乐评，我住在LA， BPO是23号到的，我也去听了两场，拉特确实太注重力度的对比了。但可以说勃一的结尾是我听到过最火爆，最有暴发力的处理的 。拉特对勃一的处理整体感觉有点软，而有些细节又处理得有点过火，比如他的定音鼓，力度感觉太大了，而第一乐章呈示部的弦乐又有些弱。