五島みどりの近況，活躍ぶり

五島みどりがニューヨークの　 at the 92nd Street Y でコンサートを開いた音楽評が，The New York Times 紙に掲載されていました．

この評では，まず，Solo　Violinist を大きく2分しています．
Some soloists spend their lives shuttling around the world, trotting out standard works for the umpteenth time. Others often refresh their repertory and always seem to have some innovative project under way. 
一群は，スタンダードな曲を弾いて世界中を忙しく飛び回っている人たち，もう一群は，しばしばレパートリーを更新して，いつも新しいproject に取り組んでいる人たち，です．

Midori は後者に属するとして，彼女の活動を紹介しています．The violinist Midori falls into the latter category. She has balanced her career as a performer with public service projects and the four educational initiatives she has established, which include an orchestra residencies program in which she visits professional and youth ensembles across the country. 　と多忙な生活を送っているそうです．

そのMidoriが，多忙の合間を縫って，ニューヨークでトルコ出身のピアニスト，Ozgur Aydin と比較的スタンダードなリサイタルを開いて好演したようです．

プログラムは，
Mozart’s Sonata for Piano and Violin in E flat (K. 380)
Shostakovich’s Violin Sonata (Op. 134)
Schumann’s Violin Sonata No. 1 in A minor
Schubert’s Fantasy for Violin and Piano in C (D. 934)
　As an encore, Midori and Mr. Aydin offered the gentle “Sea Shell” by Carl Engel, a salon piece originally written for voice and piano and performed here in a transcription by the violinist Efrem Zimbalist.

このなかで特記すべきことは，Midori が，Ozgur Aydin のことを考えて，楽譜の出版社が one of “six sonatas for piano with the accompaniment of a violin　と呼んだ曲でリサイタルを始めたということです．それは，Midori が若手育成にかける思いを物語って余りあると考えるものです．

あとは，どうぞご自由に，ご渉猟下さい．

 

 

Music Review

A Busy Soloist, Working at Collaboration

By VIVIEN SCHWEITZER

Published: November 1, 2011

Some soloists spend their lives shuttling around the world, trotting out standard works for the umpteenth time. Others often refresh their repertory and always seem to have some innovative project under way.

Karsten Moran for The New York Times

The violinist Midori was accompanied by the pianist Ozgur Aydin in a program of Mozart, Shostakovich and Schumann at the 92nd Street Y.

The violinist Midori falls into the latter category. She has balanced her career as a performer with public service projects and the four educational initiatives she has established, which include an orchestra residencies program in which she visits professional and youth ensembles across the country.

In recent years she has also turned her attention to playing contemporary repertory and commissioning works. But for her concert at the 92nd Street Y on Saturday evening, she programmed standard fare.

Not that there was anything standard about her performances, with the Turkish pianist Ozgur Aydin. A celebrity instrumentalist invariably headlines the event, but the talents of the pianist are equally important, especially in a work like Mozart’s Sonata for Piano and Violin in E flat (K. 380), which opened the program. Its publisher advertised the piece in 1781 as one of “six sonatas for piano with the accompaniment of a violin by the moderately well-known and famous Wolfgang Amadee Mozart.”

Mr. Aydin’s lithe, sparkling touch brought out the sunny qualities of the outer movements, and his poised reading of the Andante con moto beautifully complemented Midori’s penetrating playing.

That these two musicians are regular collaborators was evident in each of their finely wrought but free-spirited interpretations. The eerie musings of the first movement of Shostakovich’s Violin Sonata (Op. 134) unfolded here with plaintive intensity. The no-holds-barred ferocity of Midori and Mr. Aydin’s playing vividly illuminated the manic, almost deranged moods of the second-movement Allegretto and the solo cadenzas in the finale.

A more subdued agitation permeates Schumann’s Violin Sonata No. 1 in A minor, written a few years before the composer was admitted to a mental asylum. The musicians offered an intimate interpretation that conveyed the work’s restless energy and plumbed the searching dialogue between the two instruments.

The program concluded with a passionate rendition of Schubert’s Fantasy for Violin and Piano in C (D. 934), composed shortly before he died at 31. As an encore, Midori and Mr. Aydin offered the gentle “Sea Shell” by Carl Engel, a salon piece originally written for voice and piano and performed here in a transcription by the violinist Efrem Zimbalist.