日本人ピアニストの内田光子（写真はSouthBankCentreのＨＰから転載）さんが出演するということで、ロイヤルフェスティバルホールへフィルハーモニア管のコンサートに行って来ました。
指揮者のサロネンは今シーズンからフィルハーモニア管の主任指揮者に就任しており、今回は彼の就任記念企画ともいえる「夢の街 ウイーン 1900-1935」シリーズの一環です。当時、ウイーンで活躍した作曲家にフォーカスをあて、音楽のマーラー、美術のクリムト等、当時の前衛的な芸術活動が盛んだったウイーンの位置づけを確認するという企画です。
サロネンさんの指揮を見るのは今回が３回目です。確か92年頃にＮ響で1回、あと94年3月に米国旅行中にロスアンジェルスでロスフィルで1回聴きました。あれから15年も経っているのに、相変わらず若々しい外見と指揮ぶりに、びっくりです。
内田光子さんのピアノは初めて聴くのですが、体全体で弾くとでも言えそうな情熱的な演奏を聴かせてくれました。特に、２曲目のベルグの「ピアノとバイオリンと１３の管楽器のための室内楽」は内田さんだけでなく、バイオリンと他の管楽器の方も緊張感のある素晴らしい音楽でした。音楽自体は決して聴きやすいメロディがあるわけでもなく、演奏者にとっても相当難易度の高い楽曲のような感じがしましたが、各々しっかり自己主張のある、高レヴェルな音楽家のぶつかりあいが、聴衆にもダイレクトに伝わってきました。ブラボーです。帰り際にホールで今日のコンビが同じ曲を演奏したＣＤが売っていたので、思わず買ってしまいました。
最後はマーラーの交響曲第９番。これも素晴らしい演奏だったのですが、自分としては昨年２月にＮＨＫホールの３階席から聴いたチョン・ヨンフム指揮のＮ響の演奏の方が好みでした。今日は、１００名を超える大編成オケに、弦と管がフルパワーですごい迫力の演奏で（３階席とは思えないすごい音だった）したが、どう違ったのかは、説明が難しいですが、端的に言うとＮ響の時は第４楽章で泣けたけど、今日は泣けなかった、そんな感覚的な違いです。金管の演奏などは間違いなく今日の方がすごいのですが・・・。もちろん、好みの話で、演奏はブラボーです。（★★★★☆）
Royal Festival Hall
Philharmonia Orchestra
Sunday 22 March 2009, 7pm
Alban Berg Piano Sonata, Op.1
Alban Berg Chamber Concerto for piano, violin & 13 wind instruments
Gustav Mahler Symphony No.9
Esa-Pekka Salonen conductor
Mitsuko Uchida piano
Christian Tetzlaff violin
※3月25日追記 タイムズ紙（3.25）より転載。べた褒めしてます。
March 25, 2009
Philharmonia/Salonen at the Festival Hall
Hilary Finch
★★★★★
Mahler wanted his listeners “to go to the matter with the heart, to listen and comprehend with feeling”. “Intellectual tools”, he said, “are to be excluded.” Well, the programme book for the Philharmonia's Vienna: City of Dreams project is a veritable intellectual toolbox: extensive essays, countless quotes, metres of timelines - and, for Mahler's Ninth Symphony, no fewer than 24 words of directions from the composer himself. And here I am, compelled to write still more...
Thanks to Esa-Pekka Salonen, though, this central performance of Mahler's Ninth was felt not just in the heart but in the rest of the viscera too. Past and future collided in musical fragmentation which Salonen ensured gave a frisson of fear and elation. Even at the start - Mahler's great song of ultimate farewell - Salonen kept its muscle taut. The ubiquitous two-note dying fall throbbed and pulsed its requiem for a world of yesterday, and finally the music seemed just out of reach, lurking behind strange, tremulous fragments.
The bucolic Ländlers were stamped out with elan. And the Rondo-Burleske became a scorching scherzo, with quickfire response and repartee from each section of the orchestra. The corruscating counterpoint was quietened only by a cymbal clash that led to a dream of a trumpet song.
Salonen's decision to push on that great “Abide with me” of a finale, to allow the orchestra scarcely any breathing space, gave a sense of an inexorable summation of all the variations, collisions and interpenetration of themes that had gone before.
And this was all the more compelling for summing up, too, so much of what had come earlier in the evening. That same feeling of dizzily contrived chaos hurtled out of a rare and wonderful performance of Berg's Kammerkonzert for piano (Mitsuko Uchida), violin (Christian Tetzlaff) with 13 wind soloists - each one a wild and mercurial virtuoso. This exceptional performance within a programme of real revelations, was preceded by Uchida's limpid yet impassioned account of Berg's Piano Sonata Op 1 - music straining and stretching towards the future.
※3月25日追記 FTのレビューも転載します
City of Dreams, Royal Festival Hall, London
By Richard Fairman
Published: March 25 2009 04:00 | Last updated: March 25 2009 04:00
From Brussels to Barcelona the Philharmonia Orchestra has been busy touring the concert halls of Europe over the past month. Its series of concerts focusing on cultural life in Vienna in the early 20th century – “City of Dreams” – is about halfway through in terms of the number of events, even though some cities on the itinerary are yet to have their first visit.
One of the main objectives is to shine a spotlight on the orchestra’s partnership with Esa-Pekka Salonen, its new principal conductor. Giving them so many big pieces to play together within a short period means they should be raising their game and London no doubt benefited from the fact that the symphony in Sunday’s programme had already been performed in Amsterdam, Cologne, Vienna and Madrid.
Even so there was a novelty. The concert opened with a pair of chamber pieces by Berg – his Piano Sonata, Op. 1, and the Kammerkonzert, both with Mitsuko Uchida as pianist – that will not be turning up anywhere else on the schedule. The Kammerkonzert, judiciously executed by the 13 Philharmonia wind players under Salonen’s direction, flared into life thanks to the contrast between its two main soloists, the highly articulate Uchida and violinist Christian Tetzlaff with his extreme sensitivity.
These concentrated chamber pieces made an appropriate curtain-raiser to Salonen’s performance of Mahler’s Symphony No 9. Not for him the luxurious Wagnerian orchestral tapestry that Daniel Barenboim brings to this symphony, or the indulgent (but unforgettable) emotions of Leonard Bernstein. Salonen approaches Mahler from his expertise with later, more cerebral composers – not least the Second Viennese School – and the results are always clear and precise, if often on the chilly side.
Perhaps prompted by the Berg, the outstanding passages of this performance often occurred when groups of solo instruments came together, like individual voices in a crowd, their discourse delicately tended by Salonen. Even when he pressed ahead unsentimentally, there was poetry to the playing. Though the finale might have breathed more generously, its unruffled poise seemed the right destinationfor this performance, as the music evaporated with a beautiful control into the ether. Maybe Salonen’s newly close working with the Philharmonia is already paying dividends.
指揮者のサロネンは今シーズンからフィルハーモニア管の主任指揮者に就任しており、今回は彼の就任記念企画ともいえる「夢の街 ウイーン 1900-1935」シリーズの一環です。当時、ウイーンで活躍した作曲家にフォーカスをあて、音楽のマーラー、美術のクリムト等、当時の前衛的な芸術活動が盛んだったウイーンの位置づけを確認するという企画です。
サロネンさんの指揮を見るのは今回が３回目です。確か92年頃にＮ響で1回、あと94年3月に米国旅行中にロスアンジェルスでロスフィルで1回聴きました。あれから15年も経っているのに、相変わらず若々しい外見と指揮ぶりに、びっくりです。
内田光子さんのピアノは初めて聴くのですが、体全体で弾くとでも言えそうな情熱的な演奏を聴かせてくれました。特に、２曲目のベルグの「ピアノとバイオリンと１３の管楽器のための室内楽」は内田さんだけでなく、バイオリンと他の管楽器の方も緊張感のある素晴らしい音楽でした。音楽自体は決して聴きやすいメロディがあるわけでもなく、演奏者にとっても相当難易度の高い楽曲のような感じがしましたが、各々しっかり自己主張のある、高レヴェルな音楽家のぶつかりあいが、聴衆にもダイレクトに伝わってきました。ブラボーです。帰り際にホールで今日のコンビが同じ曲を演奏したＣＤが売っていたので、思わず買ってしまいました。
最後はマーラーの交響曲第９番。これも素晴らしい演奏だったのですが、自分としては昨年２月にＮＨＫホールの３階席から聴いたチョン・ヨンフム指揮のＮ響の演奏の方が好みでした。今日は、１００名を超える大編成オケに、弦と管がフルパワーですごい迫力の演奏で（３階席とは思えないすごい音だった）したが、どう違ったのかは、説明が難しいですが、端的に言うとＮ響の時は第４楽章で泣けたけど、今日は泣けなかった、そんな感覚的な違いです。金管の演奏などは間違いなく今日の方がすごいのですが・・・。もちろん、好みの話で、演奏はブラボーです。（★★★★☆）
Royal Festival Hall
Philharmonia Orchestra
Sunday 22 March 2009, 7pm
Alban Berg Piano Sonata, Op.1
Alban Berg Chamber Concerto for piano, violin & 13 wind instruments
Gustav Mahler Symphony No.9
Esa-Pekka Salonen conductor
Mitsuko Uchida piano
Christian Tetzlaff violin
※3月25日追記 タイムズ紙（3.25）より転載。べた褒めしてます。
March 25, 2009
Philharmonia/Salonen at the Festival Hall
Hilary Finch
★★★★★
Mahler wanted his listeners “to go to the matter with the heart, to listen and comprehend with feeling”. “Intellectual tools”, he said, “are to be excluded.” Well, the programme book for the Philharmonia's Vienna: City of Dreams project is a veritable intellectual toolbox: extensive essays, countless quotes, metres of timelines - and, for Mahler's Ninth Symphony, no fewer than 24 words of directions from the composer himself. And here I am, compelled to write still more...
Thanks to Esa-Pekka Salonen, though, this central performance of Mahler's Ninth was felt not just in the heart but in the rest of the viscera too. Past and future collided in musical fragmentation which Salonen ensured gave a frisson of fear and elation. Even at the start - Mahler's great song of ultimate farewell - Salonen kept its muscle taut. The ubiquitous two-note dying fall throbbed and pulsed its requiem for a world of yesterday, and finally the music seemed just out of reach, lurking behind strange, tremulous fragments.
The bucolic Ländlers were stamped out with elan. And the Rondo-Burleske became a scorching scherzo, with quickfire response and repartee from each section of the orchestra. The corruscating counterpoint was quietened only by a cymbal clash that led to a dream of a trumpet song.
Salonen's decision to push on that great “Abide with me” of a finale, to allow the orchestra scarcely any breathing space, gave a sense of an inexorable summation of all the variations, collisions and interpenetration of themes that had gone before.
And this was all the more compelling for summing up, too, so much of what had come earlier in the evening. That same feeling of dizzily contrived chaos hurtled out of a rare and wonderful performance of Berg's Kammerkonzert for piano (Mitsuko Uchida), violin (Christian Tetzlaff) with 13 wind soloists - each one a wild and mercurial virtuoso. This exceptional performance within a programme of real revelations, was preceded by Uchida's limpid yet impassioned account of Berg's Piano Sonata Op 1 - music straining and stretching towards the future.
※3月25日追記 FTのレビューも転載します
City of Dreams, Royal Festival Hall, London
By Richard Fairman
Published: March 25 2009 04:00 | Last updated: March 25 2009 04:00
From Brussels to Barcelona the Philharmonia Orchestra has been busy touring the concert halls of Europe over the past month. Its series of concerts focusing on cultural life in Vienna in the early 20th century – “City of Dreams” – is about halfway through in terms of the number of events, even though some cities on the itinerary are yet to have their first visit.
One of the main objectives is to shine a spotlight on the orchestra’s partnership with Esa-Pekka Salonen, its new principal conductor. Giving them so many big pieces to play together within a short period means they should be raising their game and London no doubt benefited from the fact that the symphony in Sunday’s programme had already been performed in Amsterdam, Cologne, Vienna and Madrid.
Even so there was a novelty. The concert opened with a pair of chamber pieces by Berg – his Piano Sonata, Op. 1, and the Kammerkonzert, both with Mitsuko Uchida as pianist – that will not be turning up anywhere else on the schedule. The Kammerkonzert, judiciously executed by the 13 Philharmonia wind players under Salonen’s direction, flared into life thanks to the contrast between its two main soloists, the highly articulate Uchida and violinist Christian Tetzlaff with his extreme sensitivity.
These concentrated chamber pieces made an appropriate curtain-raiser to Salonen’s performance of Mahler’s Symphony No 9. Not for him the luxurious Wagnerian orchestral tapestry that Daniel Barenboim brings to this symphony, or the indulgent (but unforgettable) emotions of Leonard Bernstein. Salonen approaches Mahler from his expertise with later, more cerebral composers – not least the Second Viennese School – and the results are always clear and precise, if often on the chilly side.
Perhaps prompted by the Berg, the outstanding passages of this performance often occurred when groups of solo instruments came together, like individual voices in a crowd, their discourse delicately tended by Salonen. Even when he pressed ahead unsentimentally, there was poetry to the playing. Though the finale might have breathed more generously, its unruffled poise seemed the right destinationfor this performance, as the music evaporated with a beautiful control into the ether. Maybe Salonen’s newly close working with the Philharmonia is already paying dividends.
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