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Takacs Quartet played all Schubert program [音楽時評]

Takacs Quartet がかなり希な演奏会といえるSchubert の中期,後期,晩年のQuartet を1夜で演奏するコンサートをNew Yorkで開いたそうです.

メンバーは原文の写真に並記されていますが,Edward Dusinberre(vn), Karoly Schranz(vn), Andras Fejer(vc) and Geraldine Walther(va), プログラムは,All Schubert で,             String Quartet No.8 in B flat (D. 112), composed in 1814, when he was 17.                    String Quartet No.13 in A minor (D. 804, “Rosamunde”), composed in 1824                      String Quartet No.15 in G (D. 887), from 1826  (遺作)                                          だったようです.

3回シリーズの2回目で,前回はシューベルトの影響を受けた作品を1曲含んでいたそうですが,Midway through a three-concert series devoted almost entirely to Schubert’s music — a previous program included a new piece inspired by a Schubert work — this consistently invigorating, satisfying ensemble offered three distinct views of a singular creator.                                       とこのクァルテットがシューベルトについて,3つの見方を明らかにしたと評価しています.

最初の曲で,Already evident in the piece is a propensity for surprising shifts between major and minor keys. を挙げています. 

D. 804, “Rosamunde” では,Schubert prematurely grown up and virtually unmatchable in his ability to mingle light and shade, joy and heartbreak. Properly poised in the earlier piece, the Takacs players adopted an earthier sound and a volatile temperament that suited Schubert’s mood swings and nervous fits without selling short his delicacy or serenity. This was an account of rare insight and passion, red-blooded but never reckless.と Takacs players を賞賛しています.

With the String Quartet in G (D. 887), from 1826, came Schubert the ailing visionary who may well have sensed his looming demise. (He died two years later, at 31.) Like Beethoven in his contemporaneous late quartets Schubert here grapples with the eternal, at epic length: 45 minutes or more. 

The work’s boldness still astonishes. An opening movement that anticipates Bruckner’s sensations of tremulous piety and majestic ascent gives way to a clockwork ballad, a show of blithe spirits and an acidic jollity that borders on mania.

あとはどうぞご自由にご渉猟下さい.日本でもぜひこうした深みのある演奏会をやって欲しいモノです.

 

Music Review

Interpreting Several Phases of a Singular Creator

Brian Harkin for The New York Times

The Takacs Quartet at the 92nd Street Y on Saturday night. From left, Edward Dusinberre, Karoly Schranz, Andras Fejer and Geraldine Walther.

Schubert was the only composer represented in the program that the Takacs Quartet offered at the 92nd Street Y on Saturday night, but in no sense was there too much of a muchness about the affair. Midway through a three-concert series devoted almost entirely to Schubert’s music — a previous program included a new piece inspired by a Schubert work — this consistently invigorating, satisfying ensemble offered three distinct views of a singular creator.

Schubert the Wunderkind was represented by the String Quartet in B flat (D. 112), composed in 1814, when he was 17. Already evident in the piece is a propensity for surprising shifts between major and minor keys. Near the start of the introductory Allegro a bucolic B flat opening is swept aside by torrential triplets in G minor; dissonant chords prick the bittersweet Andante shortly before its close. The charming Menuetto and Presto are tame by comparison.

From the arresting opening of the String Quartet in A minor (D. 804, “Rosamunde”), composed a decade later, you heard a Schubert prematurely grown up and virtually unmatchable in his ability to mingle light and shade, joy and heartbreak. Properly poised in the earlier piece, the Takacs players adopted an earthier sound and a volatile temperament that suited Schubert’s mood swings and nervous fits without selling short his delicacy or serenity.

In playing so gritty, minor scuffs and blemishes were inevitable. So what? This was an account of rare insight and passion, red-blooded but never reckless.

With the String Quartet in G (D. 887), from 1826, came Schubert the ailing visionary who may well have sensed his looming demise. (He died two years later, at 31.) Like Beethoven in his contemporaneous late quartets Schubert here grapples with the eternal, at epic length: 45 minutes or more.

The work’s boldness still astonishes. An opening movement that anticipates Bruckner’s sensations of tremulous piety and majestic ascent gives way to a clockwork ballad, a show of blithe spirits and an acidic jollity that borders on mania.

Again the Takacs players took risks with their exertions. And again the result was a performance that conveyed superlatively Schubert’s inimitable entwinement of filigree and frenzy.


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