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辻井伸行のCarnegie Hall debut の批評 [音楽時評]

私は,NHK が正確に辻井伸行が Gold Medal tie つまりMusic Competition にはまったく稀で珍しい1位タイ だったことを報道しなかったことを厳しく批判したことがあります.

その辻井伸行がCarnegie Hall debut した演奏会のMusic Review が,The New York Times に掲載されていましたので,ご紹介します.

まず,批評は,今や日本では辻井伸行は Pop Star 並の人気だという紹介をしています.
To judge from the row of television cameras at Carnegie Hall on Thursday evening, when Mr. Tsujii made his New York recital debut, there is certainly considerable interest in his developing career.

そんな人気者に対するこの批判的な Review を訳出すると,私が嫌われそうですから,もっぱら原文をピックアップしておきます.

His achievements are considerable; it is remarkable that he has attained an impressive technique that enables him to navigate the keyboard confidently and accurately in difficult repertory. He made only a few slips on Thursday evening in his program of overplayed pianistic favorites and one new piece.

But probing depth and a sense of spontaneity are missing, perhaps inevitably, since Mr. Tsujii must precisely calculate every move to ensure that his fingers are above the correct keys. This was noticeable in works by Liszt, including “Un Sospiro” from the Three Concert Études and the “Rigoletto” Concert Paraphrase, both marred by stilted phrasing, as was the rendition of Beethoven’s “Tempest” Sonata.

Mr. Tsujii demonstrated his impressive technique again after intermission with Mussorgsky’s ever popular “Pictures at an Exhibition,” although he could have paid more heed to musical details like the grandeur of the theme in “The Great Gate of Kiev.”

Mr. Tsujii is also a composer; the encores included his arrangement of Stephen Foster’s “Jeanie With the Light Brown Hair” and Mr. Tsujii’s “Elegy for the Victims of the Earthquake and Tsunami of March 11, 2011,” as well as a nuanced reading of Chopin’s “Raindrop” Prelude.

タイトルの A Pianist’s Composition Rounds Off Debut Recital Rounds Off が演奏内容への批判的評価を端的に示しています.

あとは,どうぞご自由に,ご渉猟下さい.
私は彼の演奏を1度も聴いたことがないので,これ以上何も付言することはありません.

 

 

Music Review

A Pianist’s Composition Rounds Off Debut Recital

The 23-year-old pianist Nobuyuki Tsujii, blind from birth, is said to have achieved pop-star status in his native Japan since he shared the gold medal at the 2009 Van Cliburn International Piano Competition with Haochen Zhang, from China.

Michelle V. Agins/The New York Times
Nobuyuki Tsujii: The Japanese pianist and Cliburn competition gold medalist in his New York debut recital at Carnegie Hall on Thursday.

To judge from the row of television cameras at Carnegie Hall on Thursday evening, when Mr. Tsujii made his New York recital debut, there is certainly considerable interest in his developing career. Mr. Tsujii, the first Japanese musician to win that prestigious event, is a recent graduate of the Ueno Gakuen University, a music academy in Tokyo. He learns music with Braille scores or by listening to recordings made especially for him, which include codes and instructions.

His achievements are considerable; it is remarkable that he has attained an impressive technique that enables him to navigate the keyboard confidently and accurately in difficult repertory. He made only a few slips on Thursday evening in his program of overplayed pianistic favorites and one new piece.

But probing depth and a sense of spontaneity are missing, perhaps inevitably, since Mr. Tsujii must precisely calculate every move to ensure that his fingers are above the correct keys. This was noticeable in works by Liszt, including “Un Sospiro” from the Three Concert Études and the “Rigoletto” Concert Paraphrase, both marred by stilted phrasing, as was the rendition of Beethoven’s “Tempest” Sonata.

Mr. Tsujii demonstrated his impressive technique again after intermission with Mussorgsky’s ever popular “Pictures at an Exhibition,” although he could have paid more heed to musical details like the grandeur of the theme in “The Great Gate of Kiev.”

The program began with John Musto’s appealing “Improvisation and Fugue,” composed for the 2008 New York International Piano Competition and also a competition piece at the 2009 Cliburn event. Mr. Tsujii played it with flair here, lingering on the bluesy harmonies of the opening section and darting up and down the keyboard with panache in the lightning-fast runs that come later.

Mr. Tsujii is also a composer; the encores included his arrangement of Stephen Foster’s “Jeanie With the Light Brown Hair” and Mr. Tsujii’s “Elegy for the Victims of the Earthquake and Tsunami of March 11, 2011,” as well as a nuanced reading of Chopin’s “Raindrop” Prelude.


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