{"product_id":"4526977002015","title":"Vladimir Ashkenazy ( Beethoven: Symphony No. 4 \u0026 No. 5 ?gFate?h Japan Music CD","description":"\u003cp\u003eProduct Description\u003cbr\u003e\nMedia Reviews and Other Information: A live recording of the concert commemorating Ashkenazy's appointment as music director in September 2004. The hall's acoustics are beautiful when listened to on SA-CD multi-channel. The NHK Symphony Orchestra also sounds warmer than usual, singing with great expressiveness. Ashkenazy's humane musicality is bringing about a change in the NHK Symphony Orchestra. We have high expectations for his future activities. -- Content (from \"CD Journal\" database) When a new music director or principal conductor takes up a position in an orchestra, there is a growing expectation of how this person will change the orchestra. Of course, this means in a better direction than the previous person in charge. However, this is based on the argument that orchestras are always passive and have many shortcomings, and it is only natural for the conductor to educate them in those areas. Certainly, an orchestra is nurtured by a conductor. But conductors are also nurtured by orchestras, or rather, they are nurtured more than the orchestra. Especially with an orchestra of the caliber of the NHK Symphony Orchestra, half-hearted efforts would not suffice. Judging from this inaugural live performance, frankly speaking, it seems the NHK Symphony Orchestra needs to nurture its music director. Of course, it's easy to imagine that they will inspire each other and achieve better results as they continue to perform together, but the musicians probably have a good grasp of Ashkenazy's shortcomings at this point. However, in this Beethoven performance, you can hear a passionate spirit, as if to say, \"Let's make Ashkenazy a man!\" This is not presumptuous at all. If Ashkenazy makes progress, the orchestra will make progress as well, so the NHK Symphony Orchestra should be lenient and nurture its music director. In both symphonies, the tempo is a little too fast and the vertical lines are not very aligned, but this is basically the conductor's fault. However, the orchestra is also quite proactive in stepping on the accelerator and asserting itself. Also, they are quite indifferent to the balance of volume between parts or the overall volume. This is something that is difficult for the musicians performing to judge, so Ashkenazy needs to properly adjust the levels. What surprised me a little was the theme of \"Fate.\" The \"da-da-da-da-daan\" part should be twice as long the second time around, but it was surprisingly short. But other than that, it was a straightforward, almost naive approach with almost no tricks. Well, in any case, good results come from the conductor and orchestra pushing each other to the top. There's still more to come. (Rikkyo Ishihara) --- February 2005 issue -- Contents (from \"CD Journal Review\")\u003c\/p\u003e","brand":"TOKYO JAPAN CD SHOP","offers":[{"title":"Default Title","offer_id":53225115451701,"sku":"4526977002015","price":4900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1011\/5966\/5973\/files\/51iho9K1hZL._AC.jpg?v=1785326653","url":"https:\/\/tokyojapancdshop.com\/products\/4526977002015","provider":"TOKYO JAPAN CD SHOP","version":"1.0","type":"link"}