NYT的音乐评论David Allen：音乐中最神奇、最动人的四分钟The Most Magical, Moving Four Minutes in Music 拉威尔的《鹅妈妈》（Ma Mère l’Oye）

音乐在一种低声、犹疑的氛围中开始：一条难以言喻、极其脆弱的旋律，在温柔而富有诗意的伴奏中轻轻叹息。很快，它让位于小提琴与中提琴的柔情二重奏，木管在周围织起一圈光晕，身后是竖琴的拨弦与钢片琴的清响。音乐慢慢向上漂浮，又融回最初的旋律，积蓄力量，最终在炽亮、不可抗拒的C大调中收束，打击乐在你梦境般的弦乐穹顶下闪闪发光。It begins in a hushed, hesitant atmosphere, an ineffably fragile melody sighing to a gentle, poetic accompaniment. Soon, that gives way to a tender duet for solo violin and viola, a halo of woodwinds around them, the strum of a harp and the chime of a celesta behind. Slowly the music drifts upward, melting back into the initial melody as it gathers itself to end in incandescent, irresistible C major, percussion sparkling through the string canopy of your dreams.

“我非常享受看着音乐家们制造出这些声音时的表情，”指挥家兼作曲家埃萨-佩卡·萨洛宁在一次采访中说，“那是一种极其深沉、深沉、深沉的精神性的、感官的、触觉的愉悦。我想，每一位作曲家内心深处，都希望自己能做到这样的事情。”
“I so enjoy looking at the faces of the musicians when they’re producing all that sound,” the conductor and composer Esa-Pekka Salonen said in an interview. “It is just a deep, deep, deep, spiritual, sensual, tactile pleasure. I think every composer, deep down, would like to be able to do something like that.”
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