А вот как рецензенты журнала "Grammophone" оценивают записи "Симфонии псалмов", сделанные Крафтом и Гардинером:
"<…> Craft meticulously observes the markings in the Symphony of Psalms‚ and invariably makes sense of them. On a spot check of six or seven performances HE GETS CLOSER THAN ANY OTHER CONDUCTOR (CLOSER THAN STRAVINSKY HIMSELF) TO WHAT THE SCORE SPECIFIES FOR THOSE ABRUPT RAPPINGS FROM HORNS AND BASSOONS THAT BEGIN THE FAST SECTION OF THE FINALE: STACCATO BUT PIANO‚ ONLY THE FIRST OF EACH GROUP CARRYING AN ACCENT AND A SFORZATO. There are more fervent accounts of this score – I think in particular of Bernstein (Sony‚ though alas nla) – but few that demonstrate how precise Stravinsky’s ear was. And Craft’s own is ideally alert". (Michael Oliver, September 2002)
"Both Craft's and Gardiner's recordings were made in Studio 1, Abbey Road, and both are very well performed. Initial comparison shows that CRAFT'S TEMPI ARE BROADER THAN GARDINER'S, AND CRAFT HAS EVIDENTLY CULTIVATED A LESS 'REFINED', HOMOGENEOUS SOUND. The splendid rawness and solidity of his reading is complemented by Gardiner's smoother but never under-powered approach, with chorus and orchestra in a rather more even balance, and with brass or timpani not allowed to leap into prominence quite as dramatically as with Craft. You could say that CRAFT'S IS THE MORE 'RUSSIAN' SOUND, the bass especially strongly defined, but since there's as much Parisian poise as Russian ritual in the Symphony of Psalms, Gardiner's version more than holds its own.
The remaining works on these two discs are very different, and here I have to confess a preference for the Koch <…> " (Arnold Whittall , November 2002)
Осталось только найти (а попробуй найди диски "Кох"!) и послушать, чтобы составить, наконец, и своё мнение об этих дисках.
"<…> Craft meticulously observes the markings in the Symphony of Psalms‚ and invariably makes sense of them. On a spot check of six or seven performances HE GETS CLOSER THAN ANY OTHER CONDUCTOR (CLOSER THAN STRAVINSKY HIMSELF) TO WHAT THE SCORE SPECIFIES FOR THOSE ABRUPT RAPPINGS FROM HORNS AND BASSOONS THAT BEGIN THE FAST SECTION OF THE FINALE: STACCATO BUT PIANO‚ ONLY THE FIRST OF EACH GROUP CARRYING AN ACCENT AND A SFORZATO. There are more fervent accounts of this score – I think in particular of Bernstein (Sony‚ though alas nla) – but few that demonstrate how precise Stravinsky’s ear was. And Craft’s own is ideally alert". (Michael Oliver, September 2002)
"Both Craft's and Gardiner's recordings were made in Studio 1, Abbey Road, and both are very well performed. Initial comparison shows that CRAFT'S TEMPI ARE BROADER THAN GARDINER'S, AND CRAFT HAS EVIDENTLY CULTIVATED A LESS 'REFINED', HOMOGENEOUS SOUND. The splendid rawness and solidity of his reading is complemented by Gardiner's smoother but never under-powered approach, with chorus and orchestra in a rather more even balance, and with brass or timpani not allowed to leap into prominence quite as dramatically as with Craft. You could say that CRAFT'S IS THE MORE 'RUSSIAN' SOUND, the bass especially strongly defined, but since there's as much Parisian poise as Russian ritual in the Symphony of Psalms, Gardiner's version more than holds its own.
The remaining works on these two discs are very different, and here I have to confess a preference for the Koch <…> " (Arnold Whittall , November 2002)
Осталось только найти (а попробуй найди диски "Кох"!) и послушать, чтобы составить, наконец, и своё мнение об этих дисках.
