サントリーホール：アルブレヒト指揮読響定期，神尾真由子(vn) [音楽時評]
2月25日，サントリーホールにゲルト・アルブレヒト指揮，読売日本交響楽団定期公演，神尾真由子(vn)を聴きに行ってきました．
普段はなかなか聴けない曲を聴く機会になったのですが，今夜のプログラムは， 《シュポーア・プログラム》
シューマン: 〈『ファウスト』からの情景〉序曲 シュポーア: 歌劇〈ファウスト〉序曲
シュポーア: ヴァイオリン協奏曲第8番 〈劇唱の形式で〉イ短調 作品47
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シュポーア: 交響曲第3番 ハ短調 作品78 でした．
シューマンの〈『ファウスト』からの情景〉序曲とシュポーア: 歌劇〈ファウスト〉序曲 を並べて聴けたのは興味深く思いました．シューマンもシュポーアも，テンポこそ違え初めは明るい調子で始めますが，終結部では，いずれもファウストの救済を思わせる高揚感で曲が閉じられます．
2曲が終わったところで，アルブレヒトがシュポーアについて，そしてヴァイオリン協奏曲第８番の《劇唱の形式で》についての解説がありました．シュポーアはヴァイオリン協奏曲を15曲も残していますが，そのなかで第８番はオペラのアリア様式で作曲された、形式的に因襲にとらわれない作品だそうです．
そのヴァイオリン協奏曲第8番は4部からなっていますが，第1部は，ドラマチックなオーケストラに対してヴァイオリンの叙情的なモノローグが奏でられ，第2部ではベルカント風の美麗なアリアが歌われ，第3部の華やかなレチタティーボを経て，第4部ではヴァイオリンのソロが前面に出て，華麗なカデンツァも展開されました．
暗譜でたいへん好演した神尾真由子は，アンコールに最近彼女がレコーディングしたパガニーニの 「24のカプリース」から第20番を聴かせてくれました．
後半のシュポーアの交響曲第3番は，4楽章構成で，第1楽章はやや暗い感じで始まりますが，最後は明るく終わります．第2楽章は前の楽章の主題から導かれた美しいメロディによって綴られた緩徐楽章，第3楽章はリズミカルな主部と管楽器を多用した中間部からなりますが，最後にフォルティッシモで終わります．終楽章は，これまでの素材を有機的につないで，高らかな終結を迎えます．
なかなか興味深い交響曲でした．
シュポーアという19世紀に活躍した作曲家のいくつもの側面を垣間見せたなかなか素敵な公演でした．アルブレヒトに大きな拍手を贈りたいと思います．
【論説】独ドレスデン空爆と広島，長崎原爆投下 [論説]
1945年2月13～14日は，第2次世界大戦の末期に，連合軍，主としてイギリス軍が敢行したドイツの都市ドレスデンに対する大規模空爆が，25,000人の民間人死者を出した事件の記念日です．
それは one of the most controversial allied operations of World War II と今でも論争が続いている事件です．
そしてドレスデンでは今でも1000人の人の鎖を作ったり，写真にあるような仮面を被った行進が行われて(行進で使われる音楽はWagner ではなく Elger;Enigma Variations)，ドイツ人には忘れがたい事件になっているのです．下の合成写真では，この爆撃を命令したWinston Churchill を人道に対する犯罪者として糾弾しています．
連合軍側は the role of the campaign in destroying the German war machine and by implication saving tens of millions of lives と基本的には正当化しています．
そして連合軍側では書籍や映画で第2次世界大戦における連合国側の悲惨さが様々に描かれていますが，市民の被害が甚大だったドイツ側では，ほとんどその悲惨さが書かれていないといわれています．
ドイツに較べたら，日本の東京大空襲は10万人超の死者を出しましたし，繰り返された空爆では大阪を初め他の大都市でも大きな人的被害を生みました． さらに広島，長崎の原爆はそれを上回る悲惨な出来事でした．
日本への原爆投下についても the role of the campaign in destroying the Japan war machine and by implication saving tens of millions of lives といってアメリカは正当化していますが，私はアメリカ留学中やその後の研究生活中，繰り返して何十万，何百万の人命を救うためだったと原爆投下を正当化するアメリカ人に対して， 〇アメリカの原爆投下は，既に日本がポツダム宣言受諾をスイスを通して通告していたのに行われたモノで， 〇原爆投下の真の目的は，第2次世界大戦後にアメリカが世界の覇権を握りたかったためにショーケースとして行ったモノ， と反論し，アメリカを非難し続けました．
このブログをお読み戴いた方には，是非，私の議論に賛同戴いて，アメリカの人道への罪を強く告発して戴きたいと思って，ドイツにこと寄せて，このブログを書きました．
Dresden still divided over blame for WWII bombing | |||||||
  Far-right demonstrators at the Dresden marches carried crosses Sixty-six years after the bombing of Dresden - one of the most controversial allied operations of World War II which killed around 25,000 civilians - a debate about who was to blame for the conflict still rages. I never got close enough to the swarm of black-shirted followers of Hitler to ask them if they realised that the lush string music swelling from their loud-speakers was actually Elgar, the quintessential English music.
For some reason, the neo-Nazis on the march in Dresden seemed to think that the right music to swell German nationalist pride was the Enigma Variations. You would think that Wagner would be better. But no, they liked Elgar. Call me a snob, but I suspect they just did not realise. With their black garb, shaved heads and studded, snarling faces, they did not seem like natural music buffs to me. I did ask them why they were there and what they wanted. Just grunts and shuffles came back, even from the large man with the "Kraft fur Deutschland" T-shirt ("Power for Germany"). 'Our march' It is hard to work out the ideology - or is that too strong a word? - like trying to work out the ideology of a football mob.
To do that, I met Dr Olaf Rose, who advises the far-right National Democratic Party of Germany on history. He is charm itself. We got our wires crossed and I had got the day of our meeting wrong. He moved heaven and earth to re-arrange it, even though his car had broken down and it meant a friend giving him a long lift. He is the respectable face of the march - which he described as "our march". He is genial, with a goatee beard and pretty good English. He has, he says, nothing against the British airmen who bombed Dresden, nor doeこおのばくげきをs he have anything against a memorial to them in London - in fact, the National Democratic Party of Germany is collecting money for it. He has respect for all soldiers, he says. No, it is not them he has got anything against, it is the people he sees as criminals: Churchill and Butcher Harris, as he calls Bomber Harris, who led Bomber Command - the section of the Royal Air Force which conducted the raids. He warms to his theme. "Hitler wanted peace", he says. "You can look at the documents. Nine times he sued for peace." But did he not start the war, I wondered? "Just because you fire the first shot does not mean you start the war," he said. Perpetrators or victims? This contesting of history on the anniversary of the air-raids on Dresden matters today.
If you believe that German crime had equivalent British crime, then the values that inspired that German crime might be less unacceptable today - the constraints of guilt are loosened. On one side in this contest over the past are the far-left, dressed very much like the far-right, all in black but waving the English flag - the Cross of St George - to symbolise I suppose their siding with Britain. On the other extreme, the neo-Nazi march, with its Elgar. Both demonstrations were tiny compared to the human chain of thousands of people marking the anniversary by linking hands across the city, over the bridges of the Elbe, and back to the Altmarkt, the old market square where 6,865 corpses were cremated in the open in 1945. On this human chain, I met Germany's interior minister, Thomas de Maiziere, one of Angela Merkel's right-hand men. How did he read the history? "Germans started the war," he said. "But Germans were then victims of the war." Germans as perpetrators, certainly, but Germans as victims? That is a locution with which not everyone is easy - Germans as victims too. Ghosts of the past Past and present can confuse in Dresden.
Mostly, the city is a new town. Only a few of the golden domes of what was called Florence on the Elbe remain. Not that you can always tell. The magnificent opera house is a post-war replica, for example, but you can still see ghosts there, particularly if you sit in the gilt chairs like I did, and lean forward craning from the balcony, to watch Richard Strauss' opera, Salome, exactly as it was first performed in 1905. The ghost of Strauss is there, I swear it. He wrote the most gorgeous, sublime music and also hob-nobbed with Hitler and Goebbels (to whom he dedicated a song). How do you work out that marriage of beauty and beastliness? Draped down the façade of the opera house now is another echo of the past, a banner which reads, "Es ist noch wichtiger, sich anständig zu benehmen, als gute Musik zu machen." The man who said it was the conductor Fritz Busch who was driven from Dresden and its opera house by the Nazis in 1933. In exile, he did much to create a great British cultural institution, as the conductor at Glyndebourne, the opera house nestling in the soft English downs just like the ones which inspired Elgar. The slogan, by the way, means: "It is more important to behave well than to make good music". How to listen to: From Our Own Correspondent BBC Radio 4: Saturdays, 1130. Second weekly edition on Thursdays, 1100 (some weeks only) BBC World Service: See programme schedules Download the podcast Listen on iPlayer Story by story at the programme website | |||||||
Hitler wanted peace... Just because you fire the first shot does not mean you start the war 
