仕事は来年度のビジネスプラン策定の真っ最中でてんてこ舞いなのですが、いまだ週末のコンサートの余韻に浸っています。
今日は嬉しい発見がありました。Times紙の批評で先週末のロイヤル・コンセルトヘボウのコンサートが満点の五ツ星。べた褒めの批評でした。普段、批評家のコンサートレビューはあまり気にしていないのですが、自分が良いと思った時のコンサート評ははやり気になるので、良かった時の嬉しさは格別です。
詳細は下記にコピー＆ペイストした（これは反則でしょうが、たまには良いでしょう）記事を読んでもらうとして、さわりを紹介すると・・・
・聴いた人には記憶の残るであろうはずの２つのコンサートだった。
・終演後は数分間、口を聞くことができなかった程である
・将来、私はヤンソンスのマーラー２番を、バーンスタインの５番、テンシュテットの６番、アバドの３番と並ぶものに位置づけることになるだろう。
・・・・・
ここまで、誉めるかという感じですよね。でも、妙に嬉しい気分です。
（以下、Times 12月15日号より抜粋）
December 15, 2009
Concertgebouw/Jansons at the Barbican Richard Morrison
★★★★★
These two fabulous concerts will live in the memory of all who heard them. I found it hard to imagine the virtuosic players of the Royal Concertgebouw Orchestra in better form than they were on Saturday in Brahms, Martinu and Smetana. But on Sunday they delivered an account of Mahler’s Second Symphony that left me left me unable to speak for several minutes after its stupendous finale had died away. It will join a select club. In future I will rank Mariss Jansons’s Second along with Bernstein’s Fifth, Tennstedt’s Sixth and Abbado’s Third as the finest Mahler performances I have ever heard.
What is Jansons’s secret? It has to be his unique balance of passion and technique, heart and head, the acute ear for the tiniest colouring and the giant’s-eye view of the entire landscape. But there is also an immense integrity at work. Few can rival Jansons when it comes to conjuring sublime instrumental textures, or bringing out those often obscured inner details that seem to paint the score afresh. There were countless instances of that here, both in the Resurrection Symphony and in Brahms's Fourth Symphony. Yet not once did you feel that these magical sonorities were being paraded merely for sensation. They were inextricable strands in unified interpretations. And those interpretations were magnificently thrilling, dramatic and often meltingly beautiful without ever lapsing into exaggeration or excess.
Nothing was rushed, yet never did the pace seem ponderous. The music was unfolded at exactly the speed necessary for the ear to grasp both its emotional essence and its myriad subtleties. The Brahms had a golden autumnal glow, a sense of valediction and ripeness. But the terrifying opening funeral march of the Mahler made the hairs freeze on the back of the neck. And at the end of the same piece, with the London Symphony Chorus hurling out Klopstock’s Resurrection Ode, there were moments when the gates of Heaven seemed to swing open.
Of course Jansons didn’t do all this by himself. From the radiant and impeccably tuned strings to the burnished, superbly blended brass and ravishing woodwind (the oboe in Urlicht was as hauntingly expressive as the mezzo soloist, Bernarda Fink — and that’s saying something) this great Dutch orchestra produced the sort of heart-stopping playing to make stone walls weep. The Barbican has announced that Jansons and the Concertgebouw will be returning to London for regular residencies. Just as well, otherwise I might have to emigrate to Amsterdam.
今日は嬉しい発見がありました。Times紙の批評で先週末のロイヤル・コンセルトヘボウのコンサートが満点の五ツ星。べた褒めの批評でした。普段、批評家のコンサートレビューはあまり気にしていないのですが、自分が良いと思った時のコンサート評ははやり気になるので、良かった時の嬉しさは格別です。
詳細は下記にコピー＆ペイストした（これは反則でしょうが、たまには良いでしょう）記事を読んでもらうとして、さわりを紹介すると・・・
・聴いた人には記憶の残るであろうはずの２つのコンサートだった。
・終演後は数分間、口を聞くことができなかった程である
・将来、私はヤンソンスのマーラー２番を、バーンスタインの５番、テンシュテットの６番、アバドの３番と並ぶものに位置づけることになるだろう。
・・・・・
ここまで、誉めるかという感じですよね。でも、妙に嬉しい気分です。
（以下、Times 12月15日号より抜粋）
December 15, 2009
Concertgebouw/Jansons at the Barbican Richard Morrison
★★★★★
These two fabulous concerts will live in the memory of all who heard them. I found it hard to imagine the virtuosic players of the Royal Concertgebouw Orchestra in better form than they were on Saturday in Brahms, Martinu and Smetana. But on Sunday they delivered an account of Mahler’s Second Symphony that left me left me unable to speak for several minutes after its stupendous finale had died away. It will join a select club. In future I will rank Mariss Jansons’s Second along with Bernstein’s Fifth, Tennstedt’s Sixth and Abbado’s Third as the finest Mahler performances I have ever heard.
What is Jansons’s secret? It has to be his unique balance of passion and technique, heart and head, the acute ear for the tiniest colouring and the giant’s-eye view of the entire landscape. But there is also an immense integrity at work. Few can rival Jansons when it comes to conjuring sublime instrumental textures, or bringing out those often obscured inner details that seem to paint the score afresh. There were countless instances of that here, both in the Resurrection Symphony and in Brahms's Fourth Symphony. Yet not once did you feel that these magical sonorities were being paraded merely for sensation. They were inextricable strands in unified interpretations. And those interpretations were magnificently thrilling, dramatic and often meltingly beautiful without ever lapsing into exaggeration or excess.
Nothing was rushed, yet never did the pace seem ponderous. The music was unfolded at exactly the speed necessary for the ear to grasp both its emotional essence and its myriad subtleties. The Brahms had a golden autumnal glow, a sense of valediction and ripeness. But the terrifying opening funeral march of the Mahler made the hairs freeze on the back of the neck. And at the end of the same piece, with the London Symphony Chorus hurling out Klopstock’s Resurrection Ode, there were moments when the gates of Heaven seemed to swing open.
Of course Jansons didn’t do all this by himself. From the radiant and impeccably tuned strings to the burnished, superbly blended brass and ravishing woodwind (the oboe in Urlicht was as hauntingly expressive as the mezzo soloist, Bernarda Fink — and that’s saying something) this great Dutch orchestra produced the sort of heart-stopping playing to make stone walls weep. The Barbican has announced that Jansons and the Concertgebouw will be returning to London for regular residencies. Just as well, otherwise I might have to emigrate to Amsterdam.
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