So-net無料ブログ作成
検索選択

高輪区民センター:アレクサンドラ・スム(vn)リサイタル [音楽時評]

7月26日,アレクサンドラ・スムのヴァイオリン・リサイタルを聴きに,港区の高輪区民センター・区民ホールに行ってきました.前日に武蔵野文化センター小ホールで開かれたリサイタルと同一プログラムだったので,こちらに初めて行ってきました.      
なお,ピアノ伴奏は,今川裕代さんでしたが,まことに的確な伴奏だったと思います.

アレクサンドラ・スムは、1989年、ウクライナで音楽家の家庭に生まれ,ヴァイオリンを5歳の時から父親に学び、7才で、ウクライナで最初のコンサートを行ったっそうです.

2000年に、ウィーン音楽院に入り、さらにグラーツ音楽大学で、高名なボリス・クシュナー教授のクラスに学んでいます.

その後,イスラエルフィルやパリ菅を含むフランスの有名オーケストラと次々yと協演を重ね,他方で,数多くの国際的音楽祭にも定期的に出演しており、ヴェルビエ音楽祭、シュレスヴィヒ・ホルシュタイン、ストラスブルク音楽祭、セント・デニス、メクレンブルク=フォアポンメルン、ルガーノのマルタ・アルゲリッチ音楽祭、グシュタート音楽祭、ドゥブロブニク音楽祭、マントン音楽祭、ブザンソン音楽祭、モンペリエのラジオ・フランス音楽祭、モントルーの9月音楽祭などがあげられます.

CDも,2008年春、ブルッフとパガニーニの協奏曲を,2010年春にはグリーグのヴァイオリン・ソナタを録音したセカンド・アルバムがリリースされています.

2010-2011シーズンは、BBCラジオ3のニュー・ジェネレーションアーティストに加わるほか、ヘルベルト・ブロムシュテット指揮イスラエル・フィルハーモニックとの4度目の共演、パリ管弦楽団との再共演、モスクワのロシア・ナショナル管弦楽団、ボーンマス交響楽団、そしてl今春の東京交響楽団との初共演が好評を博したほか,ブリュッセルのパレ・デ・ボザール、パリのルーブルでリサイタルも行っています.

プログラムは,
グリーグ:      ヴァイオリン・ソナタ第2番 ト長調op.13
プロコフィエフ:  ヴァイオリン・ソナタ第2番 ニ長調op.94bis  
                ※※※※※※※※
ショーソン:    詩曲 op.2
チャイコフスキー:瞑想曲ニ短調「懐かしい土地の思い出」op.42より 
ラヴェル:     ツイガーヌ
でした.

今回が日本での初リサイタルだったのですが,CDを発売したばかりのグリーグを最初に取り上げていました.最後のラヴェルを除いて,いずれもすべて譜面台を置いて演奏していましたが,22歳の若さですから,最近風に,暗譜にいわば無駄な時間を使わなかったのでしょう.

たいへん音量豊かで美しい音を聴かせていましたが,気になったのはホールの天井が武蔵野や,紀尾井,上野文化小ホールなどと比べて,比較的低く,豊かな残響がないものですから,演奏の幅が狭くなっていて,十分には彼女の技巧,表現力が伝わらなかった嫌いがありました.
もっとそれを意識して,低音,弱音をフルに使うべきだったと思いますが,どうしても単調に聴こえてしまいました.特にグリーグは,はじめの序奏を除いて,Allegro vivace, Allegro trabqyullo, Allegro animato の3楽章でしたから,単調さが気になりました.

プロコフェィエフのソナタ第2番は,4楽章構成でしたから,演奏者の会場への慣れも加わったのか,かなり好演していました.とりわけ緩徐楽章の美麗さは見事でした.

後半の,ショーソン,チャイコフスキー,ラヴェルは,どれも名曲中の名曲ですが,好演ではありましたが,チャイコフスキーを別にして,もう少し柔らかい演奏をしても良いのではと思うことがありました.

前日の武蔵野文化小ホールに行っていけば良かったと,後になって考えました.


New York Phil が9.11無料メモリアル・コンサート [音楽時評]

アラン・ギルバート指揮,Solist;ツインマーマン(vn)という7月18日の都響スペシャル・コンサートに出かけたのは出かけたのですが,外来演奏者なのでてっきり19時開演と思い込んでいて,せっかく行ったのに空振りになってしまいました.                                         たいへん落ち込んでしまったのですが,New York Philharmonic が9月10日に,アメリカ,ニューヨークの悲劇9.11を記念して無料コンサートをやるという少し古い記事を見つけましたので,ご紹介しておきます.

                                                               New York Phil は例年夏にはセントラル・パークや他の区のパークで無料コンサートをやっていたのですが,9.11 のイベントは,これらの代わりにやるようです.別に,テノールのAndrea Bocelli plans a free concert in Central Park on Sept. 15.  とあります.                         夏の無料コンサートはNew York 市の補助事業でしたから,9.11 コンサートをどう位置づけるかは,未だ決まっていないようです.

なお,9.11無料コンサートは,公園ではなく Lincoln Center のAvery Fisher Hallで開催され,演目はマーラーの「復活」がプログラム化されています.

日本でも,夏にこうした無料コンサートが大都市各地でで開かれると良いですね. 

あとは,どうぞ御自由にご渉猟下さい.                    

Philharmonic Announces Free Concert to Mark 9/11

The New York Philharmonic said on Monday that it would give a special memorial concert to mark the 10th anniversary of the Sept. 11 terror attacks: a free performance of Mahler’s Symphony No. 2, the “Resurrection,” at Avery Fisher Hall.

The tenor Andrea Bocelli plans a free concert in Central Park on Sept. 15.

One of the first major 9/11 cultural remembrances announced so far, the concert will be broadcast live on the radio and projected on a screen in Lincoln Center’s plaza. It will actually take place at 7:30 p.m. on Saturday, Sept. 10, and be rebroadcast on PBS the next evening.

Philharmonic officials described the concert as a gift to the city, but they also acknowledged that the planning for it, as well as a decision to perform on Sept. 15 in Central Park with the tenor Andrea Bocelli, had contributed to the absence this summer of the orchestra’s traditional, beloved concerts in the parks, which normally take place in mid-July.

“For me the most important element was not the parks, but to do something on the 10th of September,” Zarin Mehta, the orchestra’s president and chief executive, said. “That was the most important gesture.”

The Philharmonic had originally envisioned a 9/11 commemorative concert on the Great Lawn of Central Park and had planned to accompany it with parks concerts in other boroughs during the days before, according to Mr. Mehta. Discussions with the Parks Department began more than a year ago, he said. The orchestra players had been scheduled for vacation that week, so to make up for the lost days, management gave them the week of July 11 off — when the parks concerts would have taken place.

Then last fall brought an offer from Mr. Bocelli and his backers, which include the Barilla pasta company and Decca Records. The Philharmonic agreed to accompany him and guest artists — for an undisclosed fee — in a free Great Lawn concert that will be broadcast by PBS and turned into a CD and DVD. A large stage and giant screens are envisioned. The orchestra’s music director, Alan Gilbert, will conduct. The concert has a Web site, bocellicentralpark.com.

“I didn’t think there was a conflict,” Mr. Mehta said. “One was on the 10th, and one was on the 15th” of September. “At that stage, the enormity of the Bocelli production was not known,” he said. The Bocelli concert made “good economic sense” for the Philharmonic, he also said.

But early this year, Mr. Mehta said, the Parks Department and the Central Park Conservancy told the orchestra that both events would be too damaging to the lawn. So Mr. Mehta moved the 9/11 concert to Avery Fisher.

He said he decided not to send the orchestra to the other boroughs in the week before Sept. 10 without an anchor concert in Central Park. “Without Central Park, I can’t afford to do the other boroughs,” Mr. Mehta said.

Most of the money to pay for the parks concerts comes from Didi and Oscar Schafer, patrons who donated $5 million for five years of the program, starting in 2008. Mr. Mehta said the money saved by not giving parks concerts this summer would be used to extend the financing for another year, to 2013.

The orchestra said more than 14 million people have attended the concerts since 1965. The Schafers are contributing toward the 9/11 performance, along with Alec Baldwin, a Philharmonic board member; the board member Antonio Quintella and his wife, Gabriela; and Credit Suisse.

The Metropolitan Opera began performing operas in the parks in 1967 but stopped in 2008 to save money, presenting recitals instead.

The Philharmonic had previously announced that orchestra vacation changes because of September events, including the Bocelli concert and a make-up concert at Avery Fisher of William Walton’s music from the movie “Henry V,” narrated by Christopher Plummer on Sept. 17, would preclude the regular parks concerts, a move that provoked critical reaction. The Daily News said in an editorial that New Yorkers were being deprived. The Brooklyn Philharmonic, which has performed little as an orchestra the past few seasons because of lack of money, issued an open letter offering its services.

Mr. Mehta sounded perturbed that attention was being focused on the lack of parks concerts rather than on the memorial concert. “This is something we tried to do rather special for New York and all over the world,” he said, “and in the end we’re being criticized for not doing parks concerts.”

Not only that, he said, but the parks hiatus was also only for one year; the Philharmonic was still giving a free concert in Central Park; and the memorial concert was also free and would be broadcast in the plaza for all to see.

“I don’t think we should be criticized for something which was largely not of our making,” he said. “Nobody here is happy about the fact there will be no concerts in the boroughs.”

The Philharmonic also said on Monday that it would present performances on Sept. 7 and 8 of Leonard Bernstein’s score to “West Side Story” during screenings of the movie at Avery Fisher.

One question that remained was the fate of city money that the orchestra receives every year to support the parks concerts. Mr. Mehta said orchestra and city officials were discussing the matter.

The Philharmonic said the soprano Dorothea Röschmann and the mezzo-soprano Michelle DeYoung would sing the solo roles in the Mahler at the memorial concert.


London BBC PromsのTop 10 [音楽時評]

London の夏の風物詩ともいうべき一大音楽フェスティバル,London Proms が開幕を迎えましたが,1夜のチケットが50,000枚,全体で74コンサートという大規模イベントで,いつごろLondon に行って,何を聴いたらよいだろうかという人たちへのアドバイスとして,Top  10 イベントが紹介されていました.

そのななから,これはと思われるモノを挙げますと, 第1に,                     Friday 5 August, 7.30pm: the Venezuelans
Gustavo Dudamel (right) and the Simón Bolívar Symphony Orchestra are the big success story of classical music in the last decade. Both are the product of El Sistema, a Venezuelan music education programme that has been unbelievably successful. With the stage crammed full of exuberant, talented young musicians, the Daily Telegraph asked “Was this the greatest Prom of all time?” when they last came in 2007. This time Dudamel conducts some serious music in the form of Mahler Symphony No.2 in C minor, subtitled ‘Resurrection’. つまり,有名な大指揮者Dudamel  が, the Simón Bolívar Symphony Orchestra を指揮して,マーラーの復活をやるというのがあります, 
コーラスにはロシアのマリンスキー劇場からの参加が予定されていますから,ひとつの大きな聴きモノだと思います.

第2に,さらにイギリスの若手に注目したとして,                                  Saturday 6 August, 6.30pm: British youth
Nineteen-year-old pianist Benjamin Grosvenor, the National Youth Orchestra and a piece by young British composer Gabriel Prokofiev (whose club nights have been featured in Londonist): this Prom is about outstanding young talent. Young Grosvenor performs Britten’s Piano Concerto, Gabriel Prokofiev’s Concerto for Turntables and Orchestra is given its Proms debut and the NYO completes the gig with the popular suite from Romeo & Juliet by Gabriel’s grandfather, Sergei Prokofiev.                                                        があります.Gabriel のピアノ協奏曲演奏と,Romeo & Juliet by Gabriel’s grandfather, Sergei Prokofiev. が組み合わされるというのも,Proms ならではのイベントというべきでしょう.

あとは,どうぞ御自由にご渉猟下さい.                     

    

Top 10 Concerts For BBC Proms Virgins

There are roughly 5000 tickets, seating and standing, available at each BBC Prom at the Royal Albert Hall. There are 74 concerts at the venue this summer, meaning there are potentially 370,000 places to fill (not including concerts elsewhere). That the Proms weren’t far off that figure last year shows just how this 166-year-old festival transcends the classical music world, or indeed any music scene.

Londoners and tourists go the Proms who wouldn’t usually give classical music a try. This is partly due to the festival’s status as a firm fixture on the summer cultural circuit, but it’s also because prices remain stubbornly low. Promming, or standing, tickets are just £5.

Despite its success, to some the Proms still gives off a crusty Edwardian air, with the jingoism of the last night celebrations and the solidly middle-England demographic. But Roger Wright, the affable director of the Proms, is always keen to counter that interpretation of the festival.

By focusing relentlessly on quality and by widening the range of events, Wright is again asking new punters to roll up in 2011. It wasn’t easy but here are 10 suggestions for Proms virgins:

Saturday 23 July, 7.30pm (or Sunday 24 July, 11am): Human Planet
World music star Nitin Sawhney composed the music for the BBC’s Human Planet series. This multimedia event combines that music with big-screen projections, narration, the BBC Concert Orchestra and traditional musicians from around the world. It should be stirring stuff.

Sunday 31 July, 7pm: Rachmaninov
Most people know Rachmaninov’s famous piano concertos (Brief Encounter anyone?) but there is a huge amount more that deserves hearing from this Romantic Russian composer. This concert, by the BBC Philharmonic and the Chorus of the Mariinsky Theatre from St Petersburg, culminates in choral symphony The Bells.

                          Tuesday 2 August, 10.15pm: Folk
Late-night Proms are where some of the most exciting music happens and there’s a suitably relaxed feel to them. For this Prom, folk musician Kathryn Tickell and her band combine with the Northern Sinfonia to perform music by Australian folk-inspired composer Percy Grainger alongside traditional music.

Friday 5 August, 7.30pm: the Venezuelans
Gustavo Dudamel (right) and the Simón Bolívar Symphony Orchestra are the big success story of classical music in the last decade. Both are the product of El Sistema, a Venezuelan music education programme that has been unbelievably successful. With the stage crammed full of exuberant, talented young musicians, the Daily Telegraph asked “Was this the greatest Prom of all time?” when they last came in 2007 (click here to watch – from 3 minutes in). This time Dudamel conducts some serious music in the form of Mahler Symphony No.2 in C minor, subtitled ‘Resurrection’.

Saturday 6 August, 6.30pm: British youth
Nineteen-year-old pianist Benjamin Grosvenor, the National Youth Orchestra and a piece by young British composer Gabriel Prokofiev (whose club nights have been featured in Londonist): this Prom is about outstanding young talent. Young Grosvenor performs Britten’s Piano Concerto, Gabriel Prokofiev’s Concerto for Turntables and Orchestra is given its Proms debut and the NYO completes the gig with the popular suite from Romeo & Juliet by Gabriel’s grandfather, Sergei Prokofiev.

                    Wednesday 10 August, 10.15pm: Steve Reich
The Royal Albert Hall’s boomy acoustic is not much to write home about but it should be perfect for Steve Reich’s rhythmically complex, trance-like music. The legendary American minimalist composer Reich (pictured) is now an elder statesman of classical music and this will be his first Proms appearance since 2004. He leads a programme that includes the seminal work Music for 18 Musicians.

Saturday 13 August, 7.30pm: Comedy
Comedians of old, from Victor Borge to Dudley Moore, have drawn heavily from classical music for their material. Tim Minchin is one of today’s funny men to have continued that tradition. The polymath superstar is joined by the BBC Concert Orchestra and special guests for a gig that should have its tongue firmly in cheek.

Monday 29 August, 7.30pm: Musicals
Conductor John Wilson and his orchestra have carved a niche for themselves as red-hot exponents of music from musical theatre. In what is always an extremely popular night, Wilson leads his band and a crew of vocal stars through a high octane set. This year it’s movie musical history under the banner “Hooray for Hollywood”.

                        Friday 2 September, 10pm: Jukebox
After a concert of Liszt and Mahler, the brilliant Budapest Festival Orchestra performs a Proms first, a gig where the audience will choose the pieces to be played from a long list of options. Used to performing many encores under charismatic founder and conductor Iván Fischer (pictured), the format should suit the flexible Hungarians down to the ground.

Thursday 8 September, 7.30pm: America
Since times got hard financially, American orchestras have become a rare sight at the Proms (touring across the Atlantic is very expensive). Two of them have made it this year, and the Philadelphia Orchestra, one of the “big five” US orchestras, is still a major force despite its problems. For their Prom, the Philadelphians, under conductor Charles Dutoit, perform four popular Romantic pieces including Ravel’s sumptuous La Valse and the Tchaikovsky Violin concerto with glamorous Dutch violinist Janine Jansen.

A final top tip: if you’re promming (queuing up on the day for standing tickets), choose the gallery and not the hot-and-stuffy arena. It may be at the top of the hall but the view’s great, the music floats up beautifully and there’s lots of space to spread out.


Orchestra Of St. Luke's: Home At Last [音楽時評]

The Orchestra Of St. Luke's は,New York 市民にはお馴染みの室内管弦楽案でしたが,今までは固有の演奏会場にめぐまれなかったということがあります,
                                 

それが,今回, The DiMenna Center for Classical Music in Manhattan を常設会場とすることになって,音楽監督 Ivan Fischer が初演奏会をやるというのです.

Classic 人口は多いのですが,会場がCarnegie Hall などを含めてLincoln Center 内外に固まっていたことを考えると,地域的なバランスをとる意味でたいへん望ましいことだと思います.1級のfreelancers で成り立っているOrchestra の活躍は,いい意味で,New York  の音楽水準向上に貢献するモノと大いに期待されます.

あと,New York City Opera が未だ固定先を見つけられないでいますが,これを契機に,City Opera の常設小屋も固まると良いのですが...

  

  

The Orchestra Of St. Luke's: Home At Last

The Orchestra of St. Luke's opens The DiMenna Center for Classical Music in Manhattan.
Eric Weiss /Courtesy of the OSL

The Orchestra of St. Luke's opens The DiMenna Center for Classical Music in Manhattan.

                                                    
July 14, 2011

Conductor Ivan Fischer is bemused, calm and confident. A sly smile curls the corners of his mouth and his eyes twinkle with mischief as a thought occurs to him.

For the past week and a half, Fischer has been working with the Orchestra of St. Luke's. The ensemble is a busy part-time collective comprised of some of New York's finest freelancers. Which is to say, some of the sharpest musicians in the world. Fischer led the orchestra in a well-received Carnegie Hall performance. Now he's conducting the ensemble as they open their eagerly anticipated new home on the west side of Manhattan, the DiMenna Center for Classical Music. It's on the lower level of a building full of artists including Mikhail Baryshnikov and his Baryshnikov Arts Center.

The OSL invited Performance Today to help inaugurate its hall after decades of playing in venues around the city. Our microphones hang 12 feet overhead; the orchestra is comfortably arrayed at the center of this large rehearsal/recording space. About 130 friends and patrons of the orchestra are seated in folding chairs around the group. On the podium, I ask Fischer to take us inside the piece the OSL is playing — Beethoven's Fourth Symphony. He explains the way composer toys with rhythm. His eyes widen as he talks about a funny contrasting section, "something very slow and like a little snake, that just kind of curls around ..."

Without a pause he makes a snaky sound, his eyes bulge, his neck lengthens and his head quickly dips and bobs. His shoulders go left, his hips go right and his arms twitch in a gawky but endearingly enthusiastic imitation of a snake. Everyone in the room (orchestra members included) laughs at his physical display. But moments later, when we hear it in the music, darned if his awkward little dance wasn't the perfect illustration of the sound.

Every person defies brief description, but if I may, this was a very Ivan Fischer moment. Immensely intelligent, he knows the history and repertoire of classical music cold. But his intelligence has rich warmth, a willingness to engage with any audience, to play — even to make himself utterly silly if it's in service of the music and our appreciation of it.

At his suggestion, we unpack Beethoven's Symphony No. 4 section by section, talking between movement breaks as the orchestra plays the piece. It's a choice sure to twist the knickers of purists who want Symphonus Uninterruptus. But Fischer's deft descriptions are so illuminating, only the most hardened defenders of the 20th century's once controversial turn toward enforced concert silence will remain unmoved. His observations are smart, entertaining, on point and blessedly brief. We do the same with Prokofiev's Symphony No. 1 in the first part of the concert. I'll never hear Prokofiev's symphony the same way again after his characterization of a bassoon and violin duet in the opening movement: "If I would do a cartoon, I would always think of ducks at that point ... for me this is purely, absolutely ducks."

Two welcoming symphonies, a terrific conductor leading the Orchestra of St. Luke's (and us!) through incredible music, and a celebratory occasion, as the orchestra finally settles into their own home at the DiMenna Center after 32 years of itinerant existence. It all makes for an experience I'll not soon forget. Enjoy!


JTアートホール:ブラームスの三重奏曲の夕べ [音楽時評]

7月15日,JTアートホールに,ブラームスの三重奏曲の夕べを聴きに行ってきました.ブラームス・フアンの1人なのです.

出演者は,ピアノ,練木繁夫,ヴァイオリン,徳永二男,チェロ,堤 剛でした.

プログラムは,3曲のブラームス作曲のピアノ三重奏曲でしたが,演奏順が番号とは一致していませんでした.                  
ピアノ三重奏曲 第2番 ハ長調 Op.87  
ピアノ三重奏曲 第3番 ハ短調 Op.101  
               ※※※※※※※  
ピアノ三重奏曲 第1番  ロ長調 Op.8(改訂版)  
の順序でした.
第1番だけが,晩年になって改訂されて,曲も大きくなったからということでした. 
正確には,1番が1854 and 1891-edited,2番が1882,3番が1886年です.

弦楽四重奏と違って,三重奏はめいめいがが自分流に演奏すれば自ずから合わさるモノですから,私もある時は,もっぱらチェロを聴き,ある時はヴァイオリンやピアノを聴いていました.

3曲とも,すべて4楽章構成ですが,2番は                                               Allegro                                                                                    
Andante con moto  
Scherzo:Presto - Povo meno presto  
Finale:Allegro giocoso
                                                                                    と2楽章に変奏曲,3楽章にScherzo が用いられて急-緩-急-急となっていましたが,
3番は,                                                        Allegro energico  
Presto non assai     
Andante grazioso   
Allegro molto
   
と2楽章はScherzo でなくintermezzoで,急-急-緩-急 の順序です. 
ちなみに1番は,               
Allegro con brio  
Scherzo:Allegro molto~meno allegro      
Adagio                                                                    Allegro                                                                                                          

と,2楽章が Scherzo で,急-急-緩-急となっており,改訂時に原型をとどめたように思われます.

この3曲のなかでは,1番が比較的よく演奏される曲で,第1楽章でチェロが馴染み深いメロディを歌い始め,他の楽器にも受け継がれます.

全体に好演でしたが,とりわけ第1番が熱演されていました.  
こうした室内楽を聴く機会に,もっと恵まれたいと思います.


Lincoln Center Festival: Cleveland Orchestra;Bruckner & Adams [音楽時評]

夏のLincoln Center Festival で,Cleveland Symphonyが興味深い演奏会シリーズを展開しています

The programs were the idea of the orchestra's music director, the Austrian-born Franz Welser-Möst, who will be conducting them. Discussing the subject by phone, he says that "some years ago I was given a recording of 'Guide to Strange Places'—it may have been of the first performance. As I listened, immediately it struck me that there are so many similarities with Bruckner's music."

Historians have often paired this architect of sonic cathedrals with his contemporary and aesthetic opposite, Johannes Brahms (1833-1897)た—Bruckner in the role of Wagnerite symphonic prophet and Brahms as Romantic Classicist. Bruckner (1824-1896) has also been paired with his much younger admirer Gustav Mahler (1860-1911), whose symphonies adopt Bruckner's vast scale, but with more stylistic eclecticism. But this week's series of four concerts by the Cleveland Orchestra at the Lincoln Center Festival represents the first time Bruckner's music has been paired in depth with that of John Adams, one of America's supreme composers. とありますが,Brahms とBruckner がまったくの同時代人,とは思いませんでしたし.Mahler も,たった30年違いだったのですね,

このFestival では,4夜にわたっって,Bruckner がアメリカの現代作曲家Adams とペアで演奏されているのです.たいへん興味深い試みといえますね."That's where the idea came from," Mr. Welser-Möst notes. "And I thought it would be interesting to investigate, through comparison with John Adams's music, the many ways that Bruckner's work is so modern." といっていますが,たいへん興味深い解釈だと思います.

あとはどうぞ御自由にご渉猟下さい」.

 

Bruckner in a New Light

By BARRYMORE LAURENCE SCHERER

New York

Say the name Anton Bruckner, and majestic instrumental sonorities blaze across one's mind—emotional gestures against a backdrop of trembling strings, great motto-like themes of Wagnerian brass, rhythmic motifs weighty and satisfying.

bruckner
Margaretta Mitchell

John Adams

Historians have often paired this architect of sonic cathedrals with his contemporary and aesthetic opposite, Johannes Brahms (1833-1897)た—Bruckner in the role of Wagnerite symphonic prophet and Brahms as Romantic Classicist. Bruckner (1824-1896) has also been paired with his much younger admirer Gustav Mahler (1860-1911), whose symphonies adopt Bruckner's vast scale, but with more stylistic eclecticism. But this week's series of four concerts by the Cleveland Orchestra at the Lincoln Center Festival represents the first time Bruckner's music has been paired in depth with that of John Adams, one of America's supreme composers.

Wednesday's opening program juxtaposes Mr. Adams's Dantean "Guide to Strange Places" with Bruckner's brooding, tragic Symphony No. 5 in B-flat. On Thursday, the Adams Violin Concerto (with soloist Leila Josefowicz) will be followed by the 1883 edition of Bruckner's Symphony No. 7 in E (containing the composer's tribute to his recently deceased idol, Richard Wagner). The third concert, on Saturday, is consecrated to Bruckner's colossal and contemplative Symphony No. 8 in C-minor, in the richer, longer, less frequently performed original version of 1887. The fourth and final concert in the series, on Sunday, pairs Mr. Adams's "Doctor Atomic" Symphony, derived from his eponymous opera about the creation of the atomic bomb in 1945, with Bruckner's valedictory Symphony No. 9 in D-minor, its finale left unfinished at his death.

The programs were the idea of the orchestra's music director, the Austrian-born Franz Welser-Möst, who will be conducting them. Discussing the subject by phone, he says that "some years ago I was given a recording of 'Guide to Strange Places'—it may have been of the first performance. As I listened, immediately it struck me that there are so many similarities with Bruckner's music."

Though we tend to characterize Bruckner's style as full-blown late Romanticism, Mr. Welser-Möst provocatively observes that "Bruckner is also a Minimalist. He and Adams build many of their large structures out of little motifs that repeat, grow and evolve over long stretches of time." This Brucknerian technique, as well as a Brucknerian darkness, he says, is especially evident in "Guide to Strange Places" (2001).

The Cleveland Orchestra

Avery Fisher Hall   
July 13-17

"That's where the idea came from," Mr. Welser-Möst notes. "And I thought it would be interesting to investigate, through comparison with John Adams's music, the many ways that Bruckner's work is so modern."

Also speaking by phone, Mr. Adams at first emphasizes that he feels somewhat awkward discussing these concerts, "because whatever I say can sound self-congratulatory. And I don't feel that way at all. In fact, I am somewhat awe-struck by this idea." Nevertheless, he says of the pairing of Bruckner's Fifth with his own "Guide," with its atmosphere of darkening tension: "There is certainly something in it very similar to the Fifth. Bruckner's scherzo movements are definitely large-scale and often weighty. They exhibit a Germanic or Austro-Germanic humor that is similar to a very dark underlay of humor that is always an element in the 'Guide to Strange Places.'"

The humor of both composers is something that Mr. Welser-Möst also wants to highlight. "Actually a lot of Bruckner's music has a playful side," he says, "just like the playful element in Adams's Violin Concerto."

Though he credits Mr. Welser-Möst with choosing the different pairings, Mr. Adams says that he himself "suggested the 'Doctor Atomic' Symphony because I thought it a good match with Bruckner because it's short. And because both works share a powerful emotional sensibility."

Certainly, the Purcell-like pathos of the "Batter My Heart" finale of the "Doctor Atomic" Symphony—a trumpet solo replacing the baritone voice of the opera—offers a moving counterpart to the spirit of deep humanist introspection in Bruckner's Ninth.

Bruckner's concept of large-scale time frames is another modernist aspect that Mr. Welser-Möst intends to explore, especially by performing the first version of the Eighth, "which is much more revolutionary" than the shorter revised version. "It's like attending the third part of Wagner's 'Ring' cycle," he says. "And because this version is so wonderful and so rarely performed—and fills a full evening—we decided to present it on its own." Mr. Welser-Möst feels, moreover, that "today we have a collective experience of Schoenberg and Berg and of American composers like Adams and like Morton Feldman"—some of whose mesmerizingly slow-moving works last for several hours. "This experience allows us to approach Bruckner in a new and different light."

To the comment that Bruckner symphonies often remind one of the great vaulted ceiling of the Sistine Chapel, Mr. Welser-Möst exclaims that is "something I also see in his music. It is rooted in the Baroque Catholic tradition, and his choral and organ music have ties even further back in history to the Gregorian chant repertoire that the monks of St. Florian had been singing for centuries when Bruckner was organist there. So he represents a summation of an incredible arc of time. But he was also a child of his own time, writing in a Wagner-oriented sound language. And we know that he was completely blown away the first time he heard 'Tannhäuser,' one of the most erotic pieces of music ever written. Bruckner refers to 'Tristan' in the Seventh Symphony and in the slow movement of the Ninth. And when you listen to the Eighth and the Ninth, you hear anticipations of Alban Berg and further things that you will find again in Stravinsky and in Messaien, and which you also find again in John Adams."

Certainly spatial and spiritual qualities seem to join both composers. Even in Mr. Adams's densest orchestral writing, with its textures of frantic repetitive motifs, there is frequently a palpable spatial sensibility. Does Mr. Adams hear this as a tie to Bruckner's legacy or as evidence of a similar penchant to build large structures out of tightly constructed, repeated motivic cells and a very slowly moving harmonic rhythm?

"That's definitely one of the significant potentials of Minimalism," he replies. "Right from the start the ideas of slow motivic growth and slow harmonic rhythm proved ideal for the creation of large structures. From its inception, Minimalism was adaptable less to the compact utterance of postwar serial composers like Györgi Kurtág and Györgi Ligeti, but seemed instead to generate and celebrate large, formal architecture."


Dudamel とLang Lang の初協演 [音楽時評]

今や世界の人気の頂点に立つ若手指揮者Dudamel(30) と同じく人気絶頂のLang Lang(29)が,at the Hollywood Bowl で,they performed together for the first time, providing a glut of star power to open the Los Angeles Philharmonic’s classical music season とあります.

メインは the clear draw was the Dudamel/Lang Lang collaboration. Their vehicle was Prokofiev’s popular and electrifying Third Piano Concerto. The composer was, himself, 30 when he completed what became the hit of all his five keyboard concertos. So the choice seemed to make perfect sense.

その協演はまことに見事で,Lang Lang の過度の派手さは抑制され,With his third, he found a new and powerful balance between fingers and soul. On Tuesday night there was what appeared to be an amiable division of labor. The Chinese pianist provided the fingers, the Venezuelan conductor the soul. と絶賛しています.

あとは,どうぞ御自由にご渉猟下さい.                                      これと比較すると,結局名前も変わらなかったサイトウキネンなど食指が動きませんね!
 

Music review: Gustavo Dudamel and Lang Lang together for the first time

Gustavo Dudamel and Lang Lang, respectively 30 and 29, are by far the two most popular and electrifying classical musicians of their generation. Tuesday night they performed together for the first time, providing a glut of star power to open the Los Angeles Philharmonic’s classical music season at the Hollywood Bowl. The program, which will be repeated Thursday, was all Russian. It ended with Dudamel at his most memorable in a magnificent account of “Pictures at an Exhibition”

But the clear draw was the Dudamel/Lang Lang collaboration. Their vehicle was Prokofiev’s popular and electrifying Third Piano Concerto. The composer was, himself, 30 when he completed what became the hit of all his five keyboard concertos. So the choice seemed to make perfect sense.

DudamelAn impressive pianist, Prokofiev wrote his first two keyboard concertos to show off. With his third, he found a new and powerful balance between fingers and soul. On Tuesday night there was what appeared to be an amiable division of labor. The Chinese pianist provided the fingers, the Venezuelan conductor the soul.

As he approaches 30, Lang Lang appears to be cutting back on the flash. He was dressed, here, modestly in the traditional Bowl white jacket, if with slightly rakish open white shirt. He mugged less during the concerto than he sometimes does. And when he did wax overly lyrical he compensated with his magical tone.

He played with the spectacular rhythmic ferocity and finesse for which he is famed. He had, in Dudamel, a conductor who was flexible and supportive but also able, perhaps, to prevent the more egregious lapses in taste, such as heavy-handed accenting, for which Lang Lang has also been known.

The collaboration almost worked. But Lang Lang has become predictable. When he last appeared in Los Angeles in 2009, playing a Chopin concerto with the Vienna Philharmonic under Zubin Mehta, a young superstar seemed at a crossroads. Would he deepen musically or was he destined to become a concert hall clown, as the late pianist Earl Wild had predicted?

Lang Lang has made little progress and seems now frozen somewhere in the middle, his artistic development temporally stunted. White-knuckle passages in the first and final movements were, to him, nothing, tossed off with dazzling confidence.

The middle movement, a set of variations, was where he could show his ability to play with texture, creating delicate filigrees of decoration and, in the slow fourth variation, commune with the stars.

The concerto ended in the wow of percussive dazzle. And then poof! Lang Lang returned for an encore, Liszt’s Consolation No. 3, that was so cartoony in its romanticism that it was no consolation at all.

But even in the concerto, my ear was constantly drawn away from the keyboard and to the orchestra, to the mellow clarinets, the many-colored string and brass sections, the richness and character that Dudamel enticed from the L.A. Philharmonic. And that richness and character was then many times multiplied after intermission, when Dudamel turned to Ravel’s orchestration of Mussorgsky’s “Pictures.” Dudamel conducted it from memory as he did for an agreeable opener of Borodin’s Polovtsian Dances from “Prince Igor.”

The orchestra brought a degree of intensity that seldom seems feasible at the Bowl. The amplification was bold, exposing instrumental details and making a visceral impact. But great performances deserve great equipment. It’s time for a major upgrade in the sound system, although heaven only knows where the millions of dollars to do it right would come from. The Bowl is a Los Angeles County facility, after all.

The “Pictures” provided extraordinary tableaux vivant in sounds. It has sometimes been suggested that the large video screens would be perfect for projecting the actual paintings by Viktor Hartmann that had inspired Mussorgsky. Not this time. Dudamel played on the imagination by bringing gnome, old castle, catacombs and all the other scenes to life through the ear, not the eye.

That also meant that the one thing the Bowl does not need more of is fancy lighting. As Dudamel reached “The Great Gate of Kiev,” the exultant finale of “Pictures,” the stage suddenly darkened. The shell grew bright again as the music climaxed.

Light matters and attention can be delicate in the distracting outdoors. Dudamel had reached a moment of exultation, the climax of a great performance. An audience, I sensed, was being swept away. A spell was then broken, and a great ending became cheapened.

Still, nothing can take away from the accomplishment of this “Pictures.” To begin a Bowl season on such an exalted level sets the bar exactly where it belongs –- impossibly high. Now someone needs to put the shell's lighting switch up very high as well -- so the children can’t reach it.


武蔵野文化小ホール:オリーマンス(br)の「冬の旅」 [音楽時評]

7月12日,武蔵野文化会館小ホールに,トーマス・オリーマンス(br)が歌うシューベルトの「冬の旅」を聴きに行ってきました.ピアノ伴奏は,このホールでお馴染みの斉藤雅広さんでした.

1977年オランダ生まれのオリーマンスは,紀尾井シンフォニエッタのベートーヴェン第9交響曲「合唱」のソリストとして招かれたモノのようです.彼はヨーロッパの主要オーケストラのステージや主要歌劇場にたびたび出演しているようですし,今夜のロビーには「冬の旅」のCDが置かれていました.

ひと口で言いますと,彼の「冬の旅」はたいへんドラマチックでした.                       たいへん豊かな声量をフルに使って,一曲ごとに,ppからff までを駆使してたいへん情感溢れる演奏を聴かせてくれました.

第1曲の「おやすみ」で静かに入ったので,声量をセーブしているのかと思いましたら,メロディが繰り返される中間部で小ホールを震わすほどの声量を見せ,3度目の繰り返しで,中庸に戻っていました.

それは有名な「菩提樹」でも変わりませんでしたが,とりわけ「あふれる涙」で,素晴らしい表現力を見せてくれました.

ただ,「春の夢」や「道しるべ」では,ワン・パターンではなく,もう少し叙情性や情感を込めて欲しかったと思います.                                                          最後の「辻音楽師」の場合,最後のところで少し声を張り上げ過ぎたように感じてしまったのは,フィッシャー・ディスカウやハンス・ホッターの端正な歌唱と比較してしまったからでしょう,

それでも,全体としては,このホールで聴いた何人かの「冬の旅」のなかでは出色の好演だったと認めておきたいと思います,                                                   なお,斉藤雅広さんが,譜めくりさんなしで実に見事な伴奏を合わせていたのがたいへん印象に残りました.

また,これから予定されている紀尾井シンフォニエッタの合唱交響曲のバリトンは,きっと素晴らしいに違いないと思われます.


サントリーホール:都響プロムナード・コンサート [音楽時評]

7月10日,東京都交響楽団のプロムナード・コンサートを聴きに行ってきました.            小泉和裕指揮で,いわゆる名曲コンサートのプログラムを,気軽に楽しむことが出来ました.

そのプログラムは,                                                    シューベルト: 交響曲第7番 ロ短調 D759 「未完成」                            モーツアルト: ヴァイオリンとヴィオラのための協奏交響曲 変ホ長調 K.364  
                        Violin:四方恭子,Viola:鈴木学                                       ※※※※※※※※                                                                           シューマン:   交響曲第1番 変ロ長調 作品38 「春」                            でした.

未完成はあまりにも有名な曲ですが,小泉さんは,この優美な曲をかなりメリハリをつけて好演してくれました.

モーツアルトの協奏交響曲は,私はかねて天国的美しさを持った名曲と呼んできましたが,今日のソリスト2人がいずれも芸達者だったこともあって,たいへん美いく流麗な演奏を聴かせてくれました.とりわけ,第2楽章の両ソリストの美しい対話はまさに絶品でした.

シューマンの交響曲「春」は,プログラムによると,わずか1ヶ月ほどの作曲当初は,「春の始まり」「夕べ」「楽しい遊び」「春たけなわ」といった楽章ごとの表題がついていたことから「春」と称されるようになったといいますが,たいへん浮き浮きするようなメロディ,リズムに恵まれた曲で,緩ー緩ー急ー急の4楽章が見事に盛り上げられて締めくくられました.都響のレベルの高さを示す好演だったと思います.

本来はこれで夏休みのシーズンオフですが,今年はNew York Philharmonic のMusic Director, Alan Gilbert 指揮の特別コンサートが7月18日に予定されているのが,たいへん楽しみです. 


武蔵野文化小ホール:メルヴィン・タン(pf)リサイタル [音楽時評]

久しぶりに武蔵野文化会館小ホールに,シンガポール出身,ロンドン在住のピアニスト,メルヴィン・タンのリサイタルを聴きに行ってきました.メルヴィン・タンは,世界の主要楽団との協演歴も多く,室内楽面でも多くのレコーディングを残しているピアニストです.

丁度,今年の第14回チェイコフスキー国際Competition でアジア韓国勢が圧勝しましたから,その好影響で,今後,アジア出身者の活躍の場がぐっと広がるのではないでしょうか.

今夜のプログラムは,                                                 モーツアルト: 幻想曲 ハ短調 K.475                                                                             モーツアルト:ピアノ・ソナタ ハ短調 K.457                                                            ドビュッシー: 映像 第1集 Ⅰ.水の反映,Ⅱ.ラモーを讃えて,Ⅲ.運動                           ※※※※※※※※                                                                                  ショパン:   ピアノ・ソナタ 第3番 ロ短調 Op.58
でした.

メルビン・タンは,かなり端正なきっちりとした演奏をする人ですから,モーツアルトはピッタリ相性が合っていて,好演してくれました.                                           ただ,ピアニストがよくやるようにソナタの前に短い幻想曲を前奏曲のように弾いて,すぐソナタに移ったのです.プログラムにもちゃんとそう説明してありました.                          しかし,あろうことか,武蔵野文化会館小ホールの聴衆は,幻想曲が2楽章までと勘違いしたのか,ソナタの1楽章の後に1/3位の人が拍手を入れてしまったのです.                       武蔵野の聴衆には「通」が多いのかと買いかぶっていたのですが,チケットが割安なこともあって,市内から暇つぶしないしは勤め帰りに通っている人も多いということなのでしょうか.

ドビュッシーは,印象の音楽ですから,無難な出来でした.

ちょっと!と思わされたのはショパンでした,端正な演奏はそれとして,いささかショパンらしさの表現に不足していたように思われてなりませんでした.


XIV International Tchaikovsky Competition;Final [音楽時評]

審査結果にSponsorや審査員のコネの影響を受けていたなどなどの批判に答えて,今年のTchaikovsky Competition からロシアの音楽界の重鎮 conductor Valery Gergiev, one of the most celebrated and influential musicians in the world today をトップに迎えて,画期的にモスクワとペテルブルグで,Piano, Cello, Violin amd Voice にわたって開催されたXIV International Tchaikovsky Competition の最終結果が発表されました.

一口に言って,韓国の驚異的な圧勝に終わっています.  
Voiceの男女両部門でそれぞれ金賞,
Piano で銀賞,銅賞,  
1位なしのViolin で銅賞
というのですから,素晴らしい成果です.

日本勢は最終round まで残った人がいなかったのですから,韓国には率直に賞賛を贈りたいと思います.      
日本勢には次回に期待したいモノですが,何とかの一つ覚えのように「アジアの日本から西洋音楽を発信する」などは,今となってはすっかり昔話というところですね.

Piano 

Winners:
1st Prize, Gold Medal: Daniil Trifonov (Russia)
2nd Prize, Silver Medal: Yeol Eum Son (South Korea)

3rd Prize, Bronze Medal: Seong Jin Cho (South Korea)

4th Prize: Alexander Romanovsky (Ukraine)
5th Prize: Alexei Chernov (Russia)

Prize for the Best Performance of the Commissioned Work by Rodion Shchedrin:
Yeol Eum Son (South Korea)

Prize for the Best Performance of the Chamber Concerto:
Yeol Eum Son (South Korea)
Daniil Trifonov (Russia)


Jury Discretionary Awards:
Pavel Kolesnikov (Russia)
François-Xavier Poizat (France)

The Special Vladimir Krainev Award:
Alexander Romanovsky (Ukraine)

CELLO
1st Prize, Gold Medal: Narek Hakhnazaryan (Armenia)

2nd Prize, Silver Medal: Edgar Moreau (France)

3rd Prize, Bronze Medal: Ivan Karizna (Belarus)

4th Prize: Norbert Anger (Germany)

5th Prize: Umberto Clerici (Italy)


Prize for the Best Performance of the Commissioned Work by Krzysztof Penderecki:
Edgar Moreau (France)

Prize for the Best Performance of the Chamber Concerto:
Narek Hakhnazaryan (Armenia)

Jury Discretionary Awards:
Jakob Koranyi (Sweden)

Janina Ruh (Germany)


VIOLIN
1st Prize, Gold Medal: not awarded
2nd Prize, Silver Medal: Sergey Dogadin (Russia)

2nd Prize, Silver Medal: Itamar Zorman (Israel)
3rd Prize, Bronze Medal: Jehye Lee (South Korea)

4th Prize: Nigel Armstrong (USA)

5th Prize: Eric Silberger (USA)


Prize for the Best Performance of the Commissioned Work by John Corigliano:
Nigel Armstrong (USA)

Prize for the Best Performance of the Chamber Concerto:
Jehye Lee (South Korea)

Jury Discretionary Awards:
Aylen Pritchin (Russia)

Yu-Chien Tseng (Taiwan)


VOICE

Female
1st Prize, Gold Medal: Sun Young Seo (South Korea)

2nd Prize, Silver Medal: not awarded
3rd Prize, Bronze Medal: Elena Guseva (Russia)

4th Prize: not awarded

Male
1st Prize, Gold Medal: Jong Min Park (South Korea)

2nd Prize, Silver Medal: Amartuvshin Enkhbat (Mongolia)

3rd Prize, Bronze Medal: not awarded
4th Prize: not awarded

Jury Discretionary Awards, Female:
Oksana Davydenko (Kazakhstan)
Olga Pudova (Russia)

Jury Discretionary Awards, Male:
Dmitry Demidchik (Belarus)
Gevorg Grigorian (Russia)

The Webcast Audience Award:
Piano: Daniil Trifonov (Russia)
Cello: Narek Hakhnazaryan (Armenia)

Violin: Sergey Dogadin (Russia)

Female Voice: Elena Guseva (Russia)
Male Voice: Amartuvshin Enkhbat (Mongolia)




王子ホール:ポール・ルイス(pf)シューベルト・チクルス [音楽時評]

7月1日に王子ホールにポール・ルイス(pf)を聴きに行ってきました.                       イギリス出身で,アルフレッドブレンデルの愛弟子として知られ,最近シューベルト・チクルスを始めているのですが,王子ホールはなかなかチケットがとりにくく,今夜が第2回だったのですが,私には初めてでした.

3年前にトッパンホールで1度聴いたことがあり,印象に残っていたのですが,今夜のルイスのシューベルトは素晴らしいの一言に尽きます.

プログラムは,オール・シューベルトで,
「12のワルツ,17のレントラー,9つのエコセーズOp.18,D145」より11曲 
4つの即興曲 Op.90,D899     
          ※※※※※※※※   
ハンガリーのメロディ ロ短調 D817
ピアノ・ソナタ第18番 ト長調 Op.78,D894 「幻想曲」
でした.

最初の曲は,ブレンデルを思い起こさせるように,ステージに出てきてお辞儀をして椅子に座るなりいきなり11曲を弾き初め,ワルツ7曲,途中にレントラー4曲を挟んで,一気に弾いてしまいました.ほとんど切れ目を意識させないほどで,これで7曲目と思うくらいで終わっていました.             そういえば,プログラムの冒頭に「シューベルト作品は,幻想の駅のようなモノなのかも知れない.線路を逸脱するように彷徨いながら,聴き終えても茫漠とした想いのなかに取り残される....あれほど美しくて,幸福と友愛に溢れ,あるいは絶望的に惛い風景のなかを辿ってきて,結局は出口なしの孤独に立ち戻ってしまう.」と書かれていました.

シューベルトの中期までの作品に,こうした楽しげなワルツがあったことを思い知らされた感じでした.

4つの即興曲は,ブレンデルの実演とCDで何度も何度も聞いた作品ですが,ルイスの演奏もブレンデル仕込みが露わでしたが,ブレンデルのあっさり感よりも,一段と丁寧に好演されていました.

後半の「ハンガリーのメロディ」は,ここでも,あっという間にピアノ・ソナタに入ってしまって,きちんと頭に入れる機会を失いました.

ソナタは,もともとは「ピアノ独奏のためのファンタジー,アンダンテ,メヌエットおよびアレグレット」と題されていたそうですが,生前に出版された最後の作品ともいわれますが,今ではピアノ・ソナタ「幻想曲」としてシューベルトのピアノ・ソナタの傑作の1つとなっています.                    第1楽章から,主題を対立させることなく楽章の融合を見事に構成しており,たいへん叙情性に溢れています.アンダンテでは,優美な歌の流れにリズム音型が反復して挿入され,幻想性を醸しています.古典的なメヌエットでは素朴な主題が,最初に弾かれたレントラーを思い起こさせます.アレグレットはロンド形式のフィナーレで,多様な展開をみせながら,曲は静かに閉じられます.

しみじみとした名曲の名演奏でした.

12月予定の次回が,既に完売しているそうで,誠に残念に思っています.それでも,今秋は,内田光子がサントリーホールでシューベルト最晩年の名曲ソナタ3曲を弾く予定がありますから,それを楽しみにすることにします.

追記しますと,今夜はNHKが録画に入っていましたから,いずれ放映されると思います.最近は,よく本仮屋さんがクラシック番組のPRを,N響アワーの終わりのところで宣伝しますから,このブログ・タイトル類似の番組の宣伝に,ご関心の方はご留意下さい.


メッセージを送る