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Rattle & Berlin Phil at Carnegie Hall [音楽時評]

Simon Rattle 指揮の Berlin Philharmonic Orchestra がNew York の Carnegie Hall で2夜連続の公演を行って話題になっています.

とりわけ話題になったのは,長大曲 Bruckner の交響曲第9番を,通常演奏される3楽章構成ではなく,最近の資料収集からこれこそBruckner が意図した第4楽章という部分を加えて演奏したことです.In 1896, with his health steadily deteriorating, Anton Bruckner struggled to complete the final movement of his Ninth Symphony, which he hoped would be his masterpiece.
On Friday night at Carnegie Hall, in the second of three programs, Simon Rattle and the Berlin Philharmonic performed Bruckner’s Ninth with the American premiere of a recently completed version of the fourth movement, a result of 25 years of sleuthing and scholarship. In a video on the Carnegie Hall Web site Mr. Rattle commends the completion and almost pleads with listeners to be open-minded.

しかし,この評者,は,Rattle, Berlin Phil の第1~第3楽章の演奏が素晴らしかっただけに,付加された約22分の新第4楽章が,あまり評価できなかったといっています.

第2夜には,1曲で約90分の大曲,Marhler の交響曲第2番「復活」が演奏されたそうですが,その前に, To set a musical context for the piece Mr. Rattle and the orchestra, joined by the Westminster Symphonic Choir and (in one work) the luminous soprano Camilla Tilling began with three alluring choral songs by Mahler’s contemporary Hugo Wolf.
と Wolf の合唱曲を演じたようです.

それに続いた「復活」については,
Mr. Rattle then led an impressively integrated account of Mahler’s sprawling five-movement symphony, ...The warmth and richness of the Berlin Philharmonic’s sound were remarkable, as always. Yet here, especially in the first movement, Mr. Rattle drew lean, incisive playing and steely colors from the orchestra during the music’s vehement stretches.

There were curious moments of imprecise playing in the genial second movement and the sardonic third. But Mr. Rattle seemed more intent on conveying the music’s character with genuine spontaneity.

The plush-voiced mezzo-soprano Bernarda Fink brought poignancy to the sublime “Urlicht” movement. With Ms. Fink and Ms. Tilling singing beautifully and the resonant voices of the choir, the culmination of the finale had all the celestial exuberance any Mahlerite could ask for.
とほとんど絶賛しています.

あとは,どうぞご自由に,ご渉猟下さい.

 

 

Music Review

Filling in a Movement Bruckner Left Behind

Simon Rattle and Berlin Philharmonic at Carnegie Hall

Matthew dine for The New York Times

Simon Rattle conducting the Berlin Philharmonic with choir and solists in Mahler's “Resurrection” Symphony on Saturday.

In 1896, with his health steadily deteriorating, Anton Bruckner struggled to complete the final movement of his Ninth Symphony, which he hoped would be his masterpiece. On the last day of his life he spent the morning working on sketches. Then he took to his bed and quietly stopped breathing. He was 72.

Matthew Dine for The New York Times
Simon Rattle conducting the Berlin Philharmonic on Saturday.
Ruby Washington/The New York Times
Simon Rattle conducting the Berlin Philharmonic on Friday.

Even in its incomplete three-movement state, the Ninth Symphony has held an honored place in the repertory. Over many decades there have been attempts to complete the finale. On Friday night at Carnegie Hall, in the second of three programs, Simon Rattle and the Berlin Philharmonic performed Bruckner’s Ninth with the American premiere of a recently completed version of the fourth movement, a result of 25 years of sleuthing and scholarship. In a video on the Carnegie Hall Web site Mr. Rattle commends the completion and almost pleads with listeners to be open-minded.

In a program note John Phillips, one of four editors credited with this project, rebuts the notion that Bruckner left the last movement a shambles. One-third of it was finished and orchestrated. The layout for the entire finale was sketched. After Bruckner’s death many manuscript pages were stolen by autograph hunters. But some have turned up in recent years.

It was fascinating to hear this monumental symphony performed with an episodic, lurching final movement lasting 22 minutes. After a quizzical opening and a strong statement of the main theme there are stretches of fitful counterpoint, brass chorales and ruminative passages that take you by surprise. Over all the music pulses with a hard-wrought insistence that crests with a hallelujah coda.

Yet it was hard to know what to make of this completed finale. Bruckner compulsively revised his symphonies. What he struggled with most was the overall structure of the pieces, which anticipate Mahler’s later works in their scope and length. Sometimes Bruckner connected themes and episodes with elaborate transitional passages. At other times he just stopped what was happening and began something new. So for a Bruckner movement to be missing whole measures of connective materials is a terrible loss.

Perhaps the finale seemed more disappointing coming after the orchestra’s magnificent performance of the three familiar movements. Mr. Rattle and the Berlin players deftly balanced elements of Schubertian structure and Wagnerian turmoil in the mysterious first movement.

The brutal power of the scherzo’s main theme was chilling, with the orchestra pummeling the dense, thick, dissonance-tinged chords. And Mr. Rattle laid out the threads of chromatic counterpoint in an organic, glowing and, when appropriate, gnashing account of the Adagio.

On Saturday the series of three programs ended with another teeming work of nearly 90 minutes: Mahler’s “Resurrection” Symphony. To set a musical context for the piece Mr. Rattle and the orchestra, joined by the Westminster Symphonic Choir and (in one work) the luminous soprano Camilla Tilling began with three alluring choral songs by Mahler’s contemporary Hugo Wolf.

Mr. Rattle then led an impressively integrated account of Mahler’s sprawling five-movement symphony, which was broadcast on WQXR radio (and will be available on wqxr.org for six months by permission of the orchestra). The warmth and richness of the Berlin Philharmonic’s sound were remarkable, as always. Yet here, especially in the first movement, Mr. Rattle drew lean, incisive playing and steely colors from the orchestra during the music’s vehement stretches.

There were curious moments of imprecise playing in the genial second movement and the sardonic third. But Mr. Rattle seemed more intent on conveying the music’s character with genuine spontaneity.

The plush-voiced mezzo-soprano Bernarda Fink brought poignancy to the sublime “Urlicht” movement. With Ms. Fink and Ms. Tilling singing beautifully and the resonant voices of the choir, the culmination of the finale had all the celestial exuberance any Mahlerite could ask for.


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