New York:オーケストラ指揮振りにもipad

先にCarnegie Hall のリサイタルで，ピアノ共演者が楽譜を譜面台に立てるのではなく，ipad を置いて譜めくりをしていた例をご紹介しましたが，とうとうNew York Philharmonic の演奏会で，ハープシコードから指揮振りした指揮者がipad を使ったと報じられています．下の写真にバッチリとipadがハープシコードの譜面台に写っています，
ipad の大きなメリットは手軽に持ち運べる上，譜めくりで，めくり間違いをすることがないことだそうです．クァルテットでよく楽章間に次にめくるページの角を折っている光景を見ますが，それも昔物語になりますね．

指揮者は　Jeffrey Kahane　で，プログラムは，
・Bach at hand was the Concerto in D minor for Oboe, Violin and Strings (BWV 1060), a work Mr. Kahane has no doubt performed in its more familiar guise as a double keyboard concerto.
・Mozart’s Symphony No. 33
・Beethoven’s Piano Concerto No. 1
だったようです．

Beethoven は譜面なしで，指揮振りをしたそうですが，Bach & Mozart では写真にあるようなipad を使った指揮をしたということです．

ipad の楽譜が一般化すると，これまでのような嵩張って，重い楽譜が不要になって，楽団員も楽になり，演奏旅行もずっと身軽になるだろうといわれています．

日本でも，ipad 化をもっと先駆けてやっていかないと，時代遅れになるのでhないでしょうか！

以上，ご紹介まで．

 

Music Review

Classical Conducting? There’s an App for That

Richard Termine for The New York Times

The conductor Jeffrey Kahane led the orchestra from the harpsichord, reading from an iPad, at Avery Fisher Hall.

By ALLAN KOZINN

Published: November 23, 2011

Jeffrey Kahane offered glimpses of both the past and a possible future in his performance with the New York Philharmonic at Avery Fisher Hall on Tuesday evening. In the first half of the program he conducted works by Bach and Mozart from the harpsichord, a nod to the practice of the time, and later he was both soloist and conductor in Beethoven’s Piano Concerto No. 1. He played the Beethoven from memory, but for the Mozart, he used an iPad instead of a conventional score. Seeing the device perched on the harpsichord’s music stand called to mind the cover of Wendy Carlos’s “Switched-On Bach” album, on which the bewigged composer stands before a Moog synthesizer, though the iPad is elegantly miniature by comparison.

The Bach at hand was the Concerto in D minor for Oboe, Violin and Strings (BWV 1060), a work Mr. Kahane has no doubt performed in its more familiar guise as a double keyboard concerto. The Philharmonic was greatly reduced, though still far bigger than the one-player-to-a-part chamber music approach that period-instrument bands prefer these days. Except for a few fleetingly unbalanced passages, the ensemble was tight and trim, and the solo playing by Sheryl Staples, the Philharmonic’s associate principal concertmaster, and Liang Wang, its principal oboist, was consistently warm-toned and beautifully focused.

Mr. Kahane’s continuo playing was just about audible in the Bach and scarcely a factor in Mozart’s Symphony No. 33, but there is something to be said for the idea of a conductor having his hand on the music’s pulse. For the Mozart and Beethoven, he expanded the orchestra’s string body but kept it to chamber orchestra proportions. And his account of the Mozart was nimble, sharply accented and lively, as the courtlier works among Mozart’s symphonies tend to be.

In the Beethoven, with a concert grand before him, Mr. Kahane seemed most fully in his element. He has always been a superb but underappreciated pianist, and this concerto offered a good overview of his strengths, not least a perfectly regulated, silken tone that at times — particularly in the quick ascending runs of the first movement — had the shimmer of a harp. In more vigorous passages Mr. Kahane’s sound was contrastingly muscular and earthy, and his wild account of the first-movement cadenza sounded radical and wayward even by today’s standards, let alone Beethoven’s. Mr. Kahane played Beethoven’s own cadenzas but he touched up the one for the finale, amusingly adding a hint of the “Emperor” Concerto just before the orchestra brought the piece to an end.