労使紛争に明け暮れ,民事再生法申請をし,Music Director 欠員のまま,Charles Dutoit をPrincipal Conductor として凌ぎ,ようやくCanada から若いMusic Director,Yannick Nézet-Séguin(1975年生,ロッテルダム・フィルハーモニー管弦楽団Music director,今秋着任予定) を迎えて最出発する名門Philadelphia 菅が,その恒例のCarnegie Hall 演奏会に Simon Rattle を迎えて好演したという音楽評が掲載されていましたので,ご紹介します.
シューボックス型で,優れた音響を持つBoston Symphonyと違い,音響がデッドなホールで演奏するPhiladelphia Symphony は,長年をかけて音を磨き,アンサンブルで音に独特な広がりを持たせるよう、いろいろ工夫をし、それが分厚く柔らかくて優しい"華麗なフィラデルフィア・サウンド"の響きを発達させたとされています.特に、伸び伸びと広がる豊麗なシルクのような弦楽の音色は有名で,聴く者を魅了します.また、オーボエ首席は常に世界的に有名な奏者です.
その音色の素晴らしさもあって,Berlin Phil のSimon Rattle が,Philadelphia菅とは良好な関係を維持してきたようで,今回のCarnegie Hall 公演の指揮にあたったようです.
With all the reports of financial struggles and labor clashes that have dogged the Philadelphia Orchestra this season, you can lose sight of the fact that on any given night this storied institution will probably prove anew that it remains one of the country’s premier ensembles. Certainly no other American orchestra has cemented as durable and fruitful a relationship with Simon Rattle, the chief conductor of the Berlin Philharmonic and one of the world’s more provocative conductors.
Watching him work with the Philadelphia players during their latest visit to Carnegie Hall on Friday evening, you sensed an enduring mutual admiration.
プログラムは,
Brahms’s Third Symphony
Webern’s Six Pieces
Schumann’s Symphony No. 3 (“Rhenish”)
だったようです.
ここでは,結びだけ引用しておきますが,あとはご自由に,ご渉猟下さい.
The Philadelphia players were infectiously blithe and vivacious for Mr. Rattle in the symphony’s airy second, third and fifth movements. The fourth, Schumann’s rendering of a Gothic cathedral, was perfectly German in its weighty solemnity and perfectly conveyed by this happy combination of conductor, ensemble and hall.
Music Review
A Symbiotic Relationship That Just Keeps Growing
Philadelphia Orchestra with Simon Rattle at Carnegie Hall
Matthew Dine for The New York Times
Philadelphia Orchestra Simon Rattle conducted works by Brahms, Schumann and Webern at Carnegie Hall on Friday night.
By STEVE SMITH
Published: April 29, 2012
With all the reports of financial struggles and labor clashes that have dogged the Philadelphia Orchestra this season, you can lose sight of the fact that on any given night this storied institution will probably prove anew that it remains one of the country’s premier ensembles. Certainly no other American orchestra has cemented as durable and fruitful a relationship with Simon Rattle, the chief conductor of the Berlin Philharmonic and one of the world’s more provocative conductors.
The news media have consistently cast Mr. Rattle as the one who got away: a putative candidate for the position of music director in Philadelphia before Berlin snapped him up. Watching him work with the Philadelphia players during their latest visit to Carnegie Hall on Friday evening, you sensed an enduring mutual admiration.
As important, you heard it. At a glance the program looked like standard business: symphonies by Brahms and Schumann bookending Webern’s Six Pieces for Orchestra (Op. 6). A vital advocate for modern music, Mr. Rattle has been more wayward in canonic Classical and Romantic repertory. Some critics have suggested that while working with the Berlin Philharmonic he has absorbed as much about tradition as he has imparted about curiosity and progress.
That same effect applied here. The sound the Philadelphia players mustered from the heroic opening bars of Brahms’s Third Symphony was the orchestra’s own, showing the richness and refulgence that are this institution’s legacy. But the way the music breathed and flowed was Mr. Rattle’s doing. His deft balances in the second movement brought out mild, melancholy dissonances; likewise a glorious account of the heavenly third movement seemed flecked with seraphic light.
After an intermission awkwardly prolonged by a few dozen audience members returning to their seats for the Webern with the alacrity of children facing a dentist’s chair, Mr. Rattle and the orchestra presented the most exactingly voiced, intensely characterized account of the Six Pieces I have ever heard. Each facet of these gemlike miniatures glistened distinctly within a seductive span; Mr. Rattle’s careful calibration made palpable the work’s core sensations of dread, shock, loss and ache.
Schumann’s Symphony No. 3 (“Rhenish”), less a coherent statement than a themed grouping of felicitous evocations of German life, opened with an impetuous thrust that initially seemed to sacrifice nobility for buoyancy. But here again a subtle elasticity in Mr. Rattle’s phrasing gave the music teeming inner life.
The Philadelphia players were infectiously blithe and vivacious for Mr. Rattle in the symphony’s airy second, third and fifth movements. The fourth, Schumann’s rendering of a Gothic cathedral, was perfectly German in its weighty solemnity and perfectly conveyed by this happy combination of conductor, ensemble and hall.