ビンラディンの死の影におおわれて見えなくなってしまったリビアのことでお伝えしたい事が沢山あるのですが、たまたま覗いてみたNorman Finkelstein のHPで、思いがけなくバレンボイムの心まことに和む声に接して、みなさんにも紹介したくなりました。
http://www.normanfinkelstein.com/a-toast-to-mr-barenboim/
とても良いインタビュー記事なので、全原文を下に掲げます。
バレンボイムは、古典音楽愛好家ならば誰でも知っている名前ですし、２００３年にはシカゴ交響楽団を連れて来日していますから、彼の指揮ぶりをご覧になった方々も多いでしょう。ピアニスト、指揮者として立派な音楽家です。ユダヤ人のバレンボイムはパレスチナ人のエドワード・サイードと肝胆相照らす親しい間柄でした。エルサレム生まれのサイード（１９３５年～２００３年）は『オリエンタリズム』や『文化と帝国主義』の本で日本でも広く知られていると思います。アメリカに渡ってプリンストン大学に学び、博士号はハーバードで取得し、コロンビア大学で英文学と比較文学の教授の位置にありましたが、２００３年９月２５日、白血病で６３年の生涯を閉じました。晩年は特にパレスチナ問題について人間的良心と知性に基づいた発言を勇敢に続けて、多くの友人と多くの敵を作りました。私が彼から与えられた宿題（もちろん個人的にではありません）を、私はまだ抱え込んだままです。コンラッドの小説『闇の奥』の勉強をしているうちに、サイードがコンラッドに強い関心を持ち、小説家として高く評価していることを知りました。コンラッドの『闇の奥』の思想的な内容について既にネガティブな評価を心の中で暖めていた私は、いささか意外でもあり失望もしたのですが、サイードに対する私の尊敬の念は強いものでしたから、特に文学の理解という点では、もしサイードがコンラッドを高く評価しているのなら、低い点しか与えない私の判断に間違いがあると考えざるを得ませんでした。つまり、私にはコンラッドの文学が読めていないということです。未だに小説家としてのコンラッドの偉大さが分からないという意味で、サイードから出された宿題を私はまだ済ませていません。
バレンボイムにも私はずっと以前から好意を持っていますが、バレンボイムとサイードの共著『Parallels and Paradoxes』（Vantage, 2004）を読んでなおさら二人が好きになりました。おまけに、「追悼：エドワード・サイード」と題するバレンボイムの文章が付いていて、これが何と２００３年１０月２９日に私の住む福岡で書かれているのです。丁度、福岡でバレンボイムの率いるシカゴ交響楽団の演奏が夕方７時から行なわれた日でした。４頁の文章ですが、これだけでもこの本の値段（約千円）の半分の値打ちはあります。
それによると、サイードの死の三ヶ月前、彼の要請でバレンボイムはバッハの平均率クラヴィア曲集から第１巻第８番の変ホ短調前奏曲をニューヨークのサイードの自宅で弾きました。サイード自身、プロ並みにピアノが弾け、グレン・グールドの熱烈なファンであったそうです。彼の忌日９月２５日はグールドの誕生の日です。ここ数日、この変ホ短調前奏曲をグールド、リヒテル、アンドラス・シッフ、フリードリッヒ・グルダの演奏で繰り返し聴いています。リヒテルに最も惹かれますが、グールドから聞こえてくるのがピュアなバッハかも、と思う瞬間もあります。私のような者が、平均率曲集の中の曲の品定めをしても意味はありませが、この変ホ短調前奏曲はとりわけ胸の奥までしみわたる音楽です。福岡でこの文章を書いたバレンボイムの胸の中でもこの音楽が鎮魂の曲として鳴っていたに違いありません。
インタービューの中で、バレンボイムが最も驚かされたのは、大きな野外監獄といわれるカザ地区に１２もの大学が運営されていて，１５０万の人口の８５％は３０歳以下の若さであり、ガザは知識欲に燃える若者たちで溢れていた事だとバレンボイムは言っています。 ドイツに住み、昔からパレスチナの事に強い関心を持っているバレンボイムでさえ、この事実を知らなかったのですから、今の仰々しいマスコミが私たちに与えている情報が如何に偏向したものであるかが分かります。バレンボイムはこの若者たちにこそパレスチナの未来があると考えます。「いまから１０年たてば、この、極めて豊かな知識を持ち高い教養を身につけた世代が多数派になる」と下にある通りです。
私たちもガザのこと、パレスチナ人たちのことをもっと良く知らなければなりません。今回の大震災慰問の使者としてズービン・メータの訪日があれだけ盛んに報道され、感謝された一方で、バレンボイムのガザでの演奏会のニュースが事実上無視される理由にも思いを致さなければなりません。
ちなみに、英語を読むのが苦にならない方は、この演奏会のことを詳しく報じたニューヨークタイムズの記事も読んでみて下さい。
http://www.nytimes.com/2011/05/05/arts/music/daniel-barenboim-the-israeli-conductor-in-gaza.html?pagewanted=1&_r=1/
イスラエルの新聞「ポスト」に答えたバレンボイムの言葉とNYTの記事の間の温度差というか語り口の違いというか、実に興味津々です。NYTの記事には稀釈されたヒ素のような毒が含まれています。バレンボイムを驚かせ、嬉しがらせた、パレスチナの若者たちの知的な質の高さなどについてはNYTの記事からは何も感じ取る事ができません。総人口１５０万、東京都の半分ほどの広さのガザ地区に１２もある大学とは、特定の政治的イデオロギーや愛国心教育ではなく、学問らしい学問を若者たちに教えようとする大人たちの熱意と、学問らしい学問を学びたいと思う若者たちの向学心が一緒になって出来上がった、いわば，寺子屋的な大学なのであろう，というのが私の想像です。
A toast to Mr Barenboim （バレンボイムさんを讃えて乾杯を）
Barenboim: It's worth having a dialogue with Gazans
05.06.2011
Famed Argentinean-Israeli conductor tells ‘Post’ about his recent, unprecedented UN-sponsored concert in the Gaza Strip.
Argentinean-Israeli conductor Daniel Barenboim, together with 26 European musicians, gave a concert in Gaza last Tuesday, entering the Strip from Egypt, and returned to his home in Berlin at the same night.
The unprecedented concert, arranged by the United Nations, featured his so-called ‘Orchestra for Gaza’ playing Mozart’s Eine Kleine Nachtmusik and 40th Symphony to an audience of several hundred in Gaza City. Speaking at the event, Barenboim expressed support for the justness of the Palestinian cause, but said it could only be weakened by the use of violence , sentiments he repeated in an interview with The Jerusalem Post.
Barenboim, 68, has been an outspoken critic of successive Israeli governments policies regarding the Palestinians, and accepted honorary Palestinian citizenship after playing a concert in Ramallah three years ago. He spoke to the Post by telephone from Germany soon after his return from Gaza.
Excerpts:
Why did you go to Gaza to play?
I’ve wanted to go to Gaza for a long time. I have had quite a lot of experience with music education in the West Bank. I was in Ramallah, in Jenin, in Nablus, and of course in Jerusalem. Gaza has always fascinated me because of the curiosity of the situation: it is a part of Palestinian territory and yet it is separated. And I always was very unhappy about the blockade, because I don’t believe that anybody has the right to distribute collective guilt.
But I’m not a political personality, so I wanted to see whether I could go to Gaza and de-politicize all the discussion. And I’m very happy that I succeeded. I was invited by the United Nations and a Palestinian NGO in Gaza. I did not have any contacts with any politicians. I really came to play music for the people of Gaza. They deserve a gesture of solidarity for the conditions of life they have had for quite a long time now.
I was amazed, because I found a civil society which is very much awake and very well informed. I also found a great contrast between the number of unfinished buildings on one hand - because the cement which is required was not allowed to get through - and the fact that Gaza, with its one and a half million people, 85% of whom are under 30, has 12 universities.
I met children, pupils of the music conservatory in Gaza, and I met many young people from these universities and I thought this is the future -- they will influence the future of Palestine and the future of Israel. These are people who are so thirsty for knowledge, for the study of everything that has to do with history and human culture. Ten years from now, the young generation will be the majority, extremely well informed and extremely cultured. And these are the people that [we] will need to deal with.
There is something that I find very short sighted among a lot of politicians in the Israeli government at the moment. It immediately reacted negatively to the awakening of the young people of Egypt, and it reacted negatively to the reconciliation of Fatah and Hamas. When you take a new step, a step in a new direction, everything can go wrong [at first]. I’m very well aware of that. But you have to salute that something new and positive is happening. If you think about how you can live with it, you actually increase the chances that it will not go bad, it will go good. For Israel it is much better to have the Palestinians speak in one voice, not with two faces.
Who was in the audience?
Ordinary people -- many young people, children, young people with children.
What was the concert program?
It was influenced solely by practical considerations. A smallish orchestra -- 26 musicians. Not a huge place -- the Archeological Museum. And a small stage. So we played two works by Mozart.
How did the musicians react when you invited them?
With the utmost enthusiasm. Not one of them said, “Oh I don’t know, I have to think of it.” All said they were ready to come, obviously without being paid and these are top musicians, members of Berlin Staatskapelle, Berlin Philharmonic, the Vienna Philharmonic, Orchestre de Paris and La Scala. Five top European orchestras. Mine was a message of solidarity with the civil society, not a political gesture. And it was not only mine. It was an all-European message, which was a part of a UN mission. I was a messenger of peace of the secretary-general of the UN.
What expectations do you have of the outcome of this concert?
I hope that music activity will grow in Gaza. I hope that I will be able to go there again and give more concerts. I hope there will be a revival of interest in classical European music in Gaza. For now I see that the civil society in Gaza understood that there are many people in the world who care about them and think about them.
And from Israel?
I don’t know how well informed they are. I, for example, was not aware of the 12 universities. I did not know that there is such a thirst for knowledge. So maybe this will bring some people in Israel to think that this is a people worth having a dialogue with. Again, I’m speaking on the civil level and not the political level. I was not on a political mission and therefore I do not expect any political results.
The Palestinians have a right to a state of their own and to self-determination. We have to [allow] them to understand that we realize that our conflict is not a political conflict between two nations, which fight about borders or water, but it is a conflict between two peoples, which are convinced that they have a right to live in the same small piece of earth. Our destinies are inextricably linked.
I told the Palestinians in Gaza that I believe that the ambition of the Palestinian people to have the right to self-determination and an independent state is a very just cause. But in order for the just cause to be realized, it must avoid any kind of violence. Because the use of violence for the just cause only weakens it.
Can musical education change the social situation in this region? In Gaza and Israel?
Yes, I hope so. Look at Venezuela, where music education changed the lives of hundreds of thousands of young people, who are now having a normal life. Music also enriches lives. The reason that music is not widespread anymore is not because it is made for the few. It is made for everybody. But we simply do not take enough care of music education for children and young people. If we did, many more people would be active in music and there would be more listeners too.
藤永 茂 （２０１１年５月１８日）
http://www.normanfinkelstein.com/a-toast-to-mr-barenboim/
とても良いインタビュー記事なので、全原文を下に掲げます。
バレンボイムは、古典音楽愛好家ならば誰でも知っている名前ですし、２００３年にはシカゴ交響楽団を連れて来日していますから、彼の指揮ぶりをご覧になった方々も多いでしょう。ピアニスト、指揮者として立派な音楽家です。ユダヤ人のバレンボイムはパレスチナ人のエドワード・サイードと肝胆相照らす親しい間柄でした。エルサレム生まれのサイード（１９３５年～２００３年）は『オリエンタリズム』や『文化と帝国主義』の本で日本でも広く知られていると思います。アメリカに渡ってプリンストン大学に学び、博士号はハーバードで取得し、コロンビア大学で英文学と比較文学の教授の位置にありましたが、２００３年９月２５日、白血病で６３年の生涯を閉じました。晩年は特にパレスチナ問題について人間的良心と知性に基づいた発言を勇敢に続けて、多くの友人と多くの敵を作りました。私が彼から与えられた宿題（もちろん個人的にではありません）を、私はまだ抱え込んだままです。コンラッドの小説『闇の奥』の勉強をしているうちに、サイードがコンラッドに強い関心を持ち、小説家として高く評価していることを知りました。コンラッドの『闇の奥』の思想的な内容について既にネガティブな評価を心の中で暖めていた私は、いささか意外でもあり失望もしたのですが、サイードに対する私の尊敬の念は強いものでしたから、特に文学の理解という点では、もしサイードがコンラッドを高く評価しているのなら、低い点しか与えない私の判断に間違いがあると考えざるを得ませんでした。つまり、私にはコンラッドの文学が読めていないということです。未だに小説家としてのコンラッドの偉大さが分からないという意味で、サイードから出された宿題を私はまだ済ませていません。
バレンボイムにも私はずっと以前から好意を持っていますが、バレンボイムとサイードの共著『Parallels and Paradoxes』（Vantage, 2004）を読んでなおさら二人が好きになりました。おまけに、「追悼：エドワード・サイード」と題するバレンボイムの文章が付いていて、これが何と２００３年１０月２９日に私の住む福岡で書かれているのです。丁度、福岡でバレンボイムの率いるシカゴ交響楽団の演奏が夕方７時から行なわれた日でした。４頁の文章ですが、これだけでもこの本の値段（約千円）の半分の値打ちはあります。
それによると、サイードの死の三ヶ月前、彼の要請でバレンボイムはバッハの平均率クラヴィア曲集から第１巻第８番の変ホ短調前奏曲をニューヨークのサイードの自宅で弾きました。サイード自身、プロ並みにピアノが弾け、グレン・グールドの熱烈なファンであったそうです。彼の忌日９月２５日はグールドの誕生の日です。ここ数日、この変ホ短調前奏曲をグールド、リヒテル、アンドラス・シッフ、フリードリッヒ・グルダの演奏で繰り返し聴いています。リヒテルに最も惹かれますが、グールドから聞こえてくるのがピュアなバッハかも、と思う瞬間もあります。私のような者が、平均率曲集の中の曲の品定めをしても意味はありませが、この変ホ短調前奏曲はとりわけ胸の奥までしみわたる音楽です。福岡でこの文章を書いたバレンボイムの胸の中でもこの音楽が鎮魂の曲として鳴っていたに違いありません。
インタービューの中で、バレンボイムが最も驚かされたのは、大きな野外監獄といわれるカザ地区に１２もの大学が運営されていて，１５０万の人口の８５％は３０歳以下の若さであり、ガザは知識欲に燃える若者たちで溢れていた事だとバレンボイムは言っています。 ドイツに住み、昔からパレスチナの事に強い関心を持っているバレンボイムでさえ、この事実を知らなかったのですから、今の仰々しいマスコミが私たちに与えている情報が如何に偏向したものであるかが分かります。バレンボイムはこの若者たちにこそパレスチナの未来があると考えます。「いまから１０年たてば、この、極めて豊かな知識を持ち高い教養を身につけた世代が多数派になる」と下にある通りです。
私たちもガザのこと、パレスチナ人たちのことをもっと良く知らなければなりません。今回の大震災慰問の使者としてズービン・メータの訪日があれだけ盛んに報道され、感謝された一方で、バレンボイムのガザでの演奏会のニュースが事実上無視される理由にも思いを致さなければなりません。
ちなみに、英語を読むのが苦にならない方は、この演奏会のことを詳しく報じたニューヨークタイムズの記事も読んでみて下さい。
http://www.nytimes.com/2011/05/05/arts/music/daniel-barenboim-the-israeli-conductor-in-gaza.html?pagewanted=1&_r=1/
イスラエルの新聞「ポスト」に答えたバレンボイムの言葉とNYTの記事の間の温度差というか語り口の違いというか、実に興味津々です。NYTの記事には稀釈されたヒ素のような毒が含まれています。バレンボイムを驚かせ、嬉しがらせた、パレスチナの若者たちの知的な質の高さなどについてはNYTの記事からは何も感じ取る事ができません。総人口１５０万、東京都の半分ほどの広さのガザ地区に１２もある大学とは、特定の政治的イデオロギーや愛国心教育ではなく、学問らしい学問を若者たちに教えようとする大人たちの熱意と、学問らしい学問を学びたいと思う若者たちの向学心が一緒になって出来上がった、いわば，寺子屋的な大学なのであろう，というのが私の想像です。
A toast to Mr Barenboim （バレンボイムさんを讃えて乾杯を）
Barenboim: It's worth having a dialogue with Gazans
05.06.2011
Famed Argentinean-Israeli conductor tells ‘Post’ about his recent, unprecedented UN-sponsored concert in the Gaza Strip.
Argentinean-Israeli conductor Daniel Barenboim, together with 26 European musicians, gave a concert in Gaza last Tuesday, entering the Strip from Egypt, and returned to his home in Berlin at the same night.
The unprecedented concert, arranged by the United Nations, featured his so-called ‘Orchestra for Gaza’ playing Mozart’s Eine Kleine Nachtmusik and 40th Symphony to an audience of several hundred in Gaza City. Speaking at the event, Barenboim expressed support for the justness of the Palestinian cause, but said it could only be weakened by the use of violence , sentiments he repeated in an interview with The Jerusalem Post.
Barenboim, 68, has been an outspoken critic of successive Israeli governments policies regarding the Palestinians, and accepted honorary Palestinian citizenship after playing a concert in Ramallah three years ago. He spoke to the Post by telephone from Germany soon after his return from Gaza.
Excerpts:
Why did you go to Gaza to play?
I’ve wanted to go to Gaza for a long time. I have had quite a lot of experience with music education in the West Bank. I was in Ramallah, in Jenin, in Nablus, and of course in Jerusalem. Gaza has always fascinated me because of the curiosity of the situation: it is a part of Palestinian territory and yet it is separated. And I always was very unhappy about the blockade, because I don’t believe that anybody has the right to distribute collective guilt.
But I’m not a political personality, so I wanted to see whether I could go to Gaza and de-politicize all the discussion. And I’m very happy that I succeeded. I was invited by the United Nations and a Palestinian NGO in Gaza. I did not have any contacts with any politicians. I really came to play music for the people of Gaza. They deserve a gesture of solidarity for the conditions of life they have had for quite a long time now.
I was amazed, because I found a civil society which is very much awake and very well informed. I also found a great contrast between the number of unfinished buildings on one hand - because the cement which is required was not allowed to get through - and the fact that Gaza, with its one and a half million people, 85% of whom are under 30, has 12 universities.
I met children, pupils of the music conservatory in Gaza, and I met many young people from these universities and I thought this is the future -- they will influence the future of Palestine and the future of Israel. These are people who are so thirsty for knowledge, for the study of everything that has to do with history and human culture. Ten years from now, the young generation will be the majority, extremely well informed and extremely cultured. And these are the people that [we] will need to deal with.
There is something that I find very short sighted among a lot of politicians in the Israeli government at the moment. It immediately reacted negatively to the awakening of the young people of Egypt, and it reacted negatively to the reconciliation of Fatah and Hamas. When you take a new step, a step in a new direction, everything can go wrong [at first]. I’m very well aware of that. But you have to salute that something new and positive is happening. If you think about how you can live with it, you actually increase the chances that it will not go bad, it will go good. For Israel it is much better to have the Palestinians speak in one voice, not with two faces.
Who was in the audience?
Ordinary people -- many young people, children, young people with children.
What was the concert program?
It was influenced solely by practical considerations. A smallish orchestra -- 26 musicians. Not a huge place -- the Archeological Museum. And a small stage. So we played two works by Mozart.
How did the musicians react when you invited them?
With the utmost enthusiasm. Not one of them said, “Oh I don’t know, I have to think of it.” All said they were ready to come, obviously without being paid and these are top musicians, members of Berlin Staatskapelle, Berlin Philharmonic, the Vienna Philharmonic, Orchestre de Paris and La Scala. Five top European orchestras. Mine was a message of solidarity with the civil society, not a political gesture. And it was not only mine. It was an all-European message, which was a part of a UN mission. I was a messenger of peace of the secretary-general of the UN.
What expectations do you have of the outcome of this concert?
I hope that music activity will grow in Gaza. I hope that I will be able to go there again and give more concerts. I hope there will be a revival of interest in classical European music in Gaza. For now I see that the civil society in Gaza understood that there are many people in the world who care about them and think about them.
And from Israel?
I don’t know how well informed they are. I, for example, was not aware of the 12 universities. I did not know that there is such a thirst for knowledge. So maybe this will bring some people in Israel to think that this is a people worth having a dialogue with. Again, I’m speaking on the civil level and not the political level. I was not on a political mission and therefore I do not expect any political results.
The Palestinians have a right to a state of their own and to self-determination. We have to [allow] them to understand that we realize that our conflict is not a political conflict between two nations, which fight about borders or water, but it is a conflict between two peoples, which are convinced that they have a right to live in the same small piece of earth. Our destinies are inextricably linked.
I told the Palestinians in Gaza that I believe that the ambition of the Palestinian people to have the right to self-determination and an independent state is a very just cause. But in order for the just cause to be realized, it must avoid any kind of violence. Because the use of violence for the just cause only weakens it.
Can musical education change the social situation in this region? In Gaza and Israel?
Yes, I hope so. Look at Venezuela, where music education changed the lives of hundreds of thousands of young people, who are now having a normal life. Music also enriches lives. The reason that music is not widespread anymore is not because it is made for the few. It is made for everybody. But we simply do not take enough care of music education for children and young people. If we did, many more people would be active in music and there would be more listeners too.
藤永 茂 （２０１１年５月１８日）