Bulow appers to have taken a severe view of the symphony when he conducted its earliest performances with the Meiningen Orchestra. and again, Brahms could not resist a little mischief-making. Writing to the violinist Joachim after conducting some of the performances on the Meiningen Orchestra's tour. Brahms observed:"In those concerts. I couldn't make enough slowing and accelerations."(看起来勃拉姆斯把演出不成功的原因归咎自己）。Furtwangler might have approved of that(his own accounts of the symphony were rarely less than memorable)(大意是富特文格勒的演绎基本上还凑合），BUT in the final analysis a great performance needs not only expressive power(是不是楼主所说的"愤怒地呐喊"?) and a richly developed sound but also an unremitting clarity of texture and line married to an inexorable sense of forward progress.(这大概就是小克版音乐流畅且动力源源不绝的原因吧?). in his day, Toscanini provided this; the symphony had many fine interpreters, ButToscanini's performance was simply the thing itself.(看来Toscanini比Furtwangler牛一点).
And so is the recording Carlos Kleiber make with the Vienna philharmonic in 1980. Recordings by Klemperer, Boult and Karajan had set notable precedents in the stereophonic age,But Kleiber's performance was and remains, a thing apart,gloriously articulate orchestral playing married to an interpretation, at once fierce, noble and austere. that thrillingly enacts the power of Brahms's tragic discourse. (真搞不懂老迷和小湖北怎么听出无病呻吟的小资情绪出来了)
And so is the recording Carlos Kleiber make with the Vienna philharmonic in 1980. Recordings by Klemperer, Boult and Karajan had set notable precedents in the stereophonic age,But Kleiber's performance was and remains, a thing apart,gloriously articulate orchestral playing married to an interpretation, at once fierce, noble and austere. that thrillingly enacts the power of Brahms's tragic discourse. (真搞不懂老迷和小湖北怎么听出无病呻吟的小资情绪出来了)