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Carnegie Hall でiPad で楽譜めくり [音楽時評]

a recital with the violinist Joshua Bell at Carnegie Hall on Mondayで,ピアノ伴奏者Sam Haywoodが use iPads instead of old-fashioned paper scores というのです.
これが広がれば,ステージ上の譜めくりさんは要らなくなるだろうと予想されます.

ここでは,このiPads 活用が始まったことをお知らせしたかったのですが,序でにいいますと,Joshua Bell は,1985年debut 以来,30度目のCarnegie Hall 出演だったそうで,比較的スタンダードな曲を演奏してきたそうですが,彼は今度 He will soon be in a spotlight of a different sort as the new music director of the Academy of St. Martin in the Fields in London, with which he first played in 1986. と指揮者,音楽監督デビューを果たすそうです.

この夜は.
beginning with a beautifully shaped interpretation of Mendelssohn’s Violin Sonata in F.
The pair’s committed rendition of Beethoven’s Violin Sonata No. 7 in C minor was distinguished by lovely phrasing in the Adagio,ただ,この最中,携帯電話が大きな音を出したそうです.
Ysaÿe’s Solo Violin Sonata in D minor (“Ballade”), written after the composer had heard the Hungarian virtuoso Joseph Szigeti play a Bach work for unaccompanied violin early in the 20th century.
The program ended with a stirring and soulful interpretation of Franck’s full-blooded Violin Sonata in A. 
As an encore, they offered a poetic rendition of Mr. Bell’s arrangement of Chopin’s Nocturne in C sharp minor.

と羨ましいほどの名曲の名演だったようです. 

あとは,どうぞ,ご自由にご渉猟下さい.譜めくりが要らなくなるのはきっと早いでしょうね!

 

Music Review

Tied to Songs of the Past, but a Nod to the Present

The page turner may soon go the way of the rotary phone if more pianists use iPads instead of old-fashioned paper scores, as the pianist Sam Haywood did during a recital with the violinist Joshua Bell at Carnegie Hall on Monday.

Ruby Washington/The New York Times
Joshua Bell, above, with Sam Haywood, performed sonatas by composers like Beethoven, Mendelssohn and Ysaÿe at Carnegie Hall on Monday.

The gadget was certainly the most contemporary aspect of the program (a Bluetooth foot pedal allowed Mr. Haywood to turn the pages himself), and Mr. Bell said from the stage that this was his 30th performance at Carnegie Hall, where he made his debut in 1985. Mr. Bell, a perennially boyish 43, does not often venture far from 19th- and early-20th-century works, but his passion for this repertory seems unwavering. After decades in the spotlight he doesn’t sound remotely jaded.

He will soon be in a spotlight of a different sort as the new music director of the Academy of St. Martin in the Fields in London, with which he first played in 1986.

Throughout the evening, Mr. Bell and Mr. Haywood played with passionate flair, beginning with a beautifully shaped interpretation of Mendelssohn’s Violin Sonata in F. Here and elsewhere, Mr. Haywood’s warm touch complemented Mr. Bell’s lush, penetrating tone, particularly appealing in the songlike Adagio. The torrent of 16th-notes in the finale unfolded with sparkling clarity.

The pair’s committed rendition of Beethoven’s Violin Sonata No. 7 in C minor was distinguished by lovely phrasing in the Adagio, although that movement was rudely interrupted by a particularly grating cellphone ring, which sounded like a fire alarm.

Mr. Bell was in his element with Ysaÿe’s Solo Violin Sonata in D minor (“Ballade”), written after the composer had heard the Hungarian virtuoso Joseph Szigeti play a Bach work for unaccompanied violin early in the 20th century. Like Bach, Ysaÿe used a wide range of expressive and technical elements in the Ballade, a showpiece that displays Mr. Bell’s virtuosity, rich tone and characterful playing to full effect.

The program ended with a stirring and soulful interpretation of Franck’s full-blooded Violin Sonata in A.

“We love you,” a fan shouted from the balcony as the players took their bows. As an encore, they offered a poetic rendition of Mr. Bell’s arrangement of Chopin’s Nocturne in C sharp minor.


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