トッパンホール：テツラフviolin リサイタル

5月30日，トッパンホールに1966年ハンブルグ生まれのクリスティアン・テツラフのヴァイオリン・リサイタルを聴きに行って来ました．ピアノ伴奏はヨーロッパで活躍しているパリ在住の児玉桃でした．

テツラフはかなり多忙な日程をこなしています．5月中旬から6月中旬の日程を見ますと，

Tue 15.05.2012 | 20:00
Remagen | Bahnhof Rolandseck
DEBUSSY, C.: Sonate für Violine und Klavier g-Moll
WEBERN, A.: 4 Stücke für Violine und Klavier op. 7
BEETHOVEN, L.V.: Sonate für Klavier und Violine Nr. 5 F-Dur op. 24 ''Frühlings-Sonate''
SCHUMANN, R.: Sonate für Violine und Klavier Nr. 2 d-Moll op. 121
PARTNER: Matthias Kirschnereit, Piano

Sun 20.05.2012 | 15:00
New York | Metropolitan Opera

SCHÖNBERG, A.: Konzert für Violine und Orchester op. 36
MENDELSSOHN, F.: Konzert für Violine und Orchester e-Moll op. 64
MOZART, W.A.: Adagio für Violine und Orchester E-Dur KV 261
CONDUCTOR: David Robertson
ORCHESTRA: Metropolitan Opera Orchestra

Mon 28.05.2012 | 19:00
Tokyo |Bunka Kaikan
Tue 29.05.2012 | 19:00
Tokyo |Suntory Hall

MOZART, W.A.: Konzert für Violine und Orchester Nr. 3 G-Dur KV 216
MENDELSSOHN, F.: Konzert für Violine und Orchester e-Moll op. 64
CONDUCTOR: Thomas Hengelbrock
ORCHESTRA: NDR Sinfonieorchester Hamburg

Wed 30.05.2012 | 19:00
Tokyo |Toppan Hall

Szymanowski, Ysaye, Paganini, Kurtag and Enescu
PARTNER: Momo Kodama, Piano

Performances June 2012

Fri 01.06.2012 bis Sun 10.06.2012
Heimbach | Festival "Spannungen"

Thu 14.06.2012 | 20:00
Saarbrücken | Congresshalle
BRAHMS, J.: Konzert für Violine und Orchester D-Dur op. 77
CONDUCTOR: Toshiyuki Kamioka
ORCHESTRA: Staatsorchester des Saarländischen Staatstheaters

この日程では，テツラフが児玉桃さんとリハーサルを重ねるのはかなり困難だったでしょうから，今夜のプログラムは，ソロ・ヴァイオリンが中心になり，最初と終わりの２曲だけを協演という形になっていました．

プログラムは，
シマノフスキー： 神話 Op.30    1. アレトーサの泉，２．ナルキッソス，
　　　　　　　　　　　　　　　　　　　　３．ドリュアースとパーン
イザイ：　　　　　  無伴奏ヴァイオリン・ソナタ第1番ト短調Op.27-1
                     I Grave，ⅡFugato,ⅢAllegertto poco scherzoso,ⅣFinale con brio
パガニーニ：   24の奇想曲Op.1より；第16番ト短調，第6番ト短調，第15番ホ短調，
                                                        第1番ホ長調
　　　　　　　　※※※※※※※※
クルターク:　　《サイン,ゲーム,メッセージ》より
　　　　　　　　　　 バッハへのオマージュ，　タマーシュ・ブルムの思い出に，　Vivo,
                     　　カレンツアの舞曲，　哀しみ，　Zank-Chromatisch(不協和的半音階）
エネスク：　　　ヴァイオリン・ソナタ第2番ヘ短調Op.6
         　              ⅠAssez movemente,ⅡTranquillmente, ⅢVif
でした．

昨日と一昨日がモーツアルトとメンデルスゾーンの協奏曲でしたし，それ以前の彼のヨーロッパでのリサイタル（上記）と比較しても，今夜のプログラムはずいぶん思い切った選曲だったと思います．
たいへん多彩な近・現代曲を聴かせて貰えたことは，たいへん良かったのですが，ここでは曲の内容に立ち入るには力不足なのでは控えさせていただきます．

テツラフと児玉桃さんは，昨年5月にスダーン指揮の東京交響楽団と●メンデルスゾーン：VnとPfのための協奏曲ニ短調→クリスティアン・テツラフ(Vn)＋児玉桃(Pf)で協演した仲ですから，今夜の絞り込んだデュオ2曲に関しては，児玉さんのピアノは誠に見事でした．時にヴァイオリンをリードしていました．

テツラフは現代ドイツ製作の楽器， a contemporary violin by Stefan-Peter Greiner which he has had since 2002，を愛用していて(それ以前はstradivarius)，弦と弓も，He uses a Peccatte bow, and Vision strings by Thomastik-Infeld in Vienna とたいへん凝ったモノを使っているそうです．

トッパンホールの音響の良さもあって，実に幅広い音量を巧みに使い分けて，テツラフならではという曲の解釈を愛器の澄んだ美しい音に乗せて，his musical integrity, technical assurance and intelligent, compelling interpretations で誠に多彩な演奏を聴かせてくれました．
とりわけ，終曲で聴かせた長い最弱音のパッセージをホールの隅々まで浸透させていたのは，希に見る好演でした．

機会があれば，彼が来月トイツで上岡敏之との協演でブラームスのヴィオリン協奏曲をやるのを，日本でも聴いてみたいモノです．

 

SPOLETO Festival Features Japanese Composers

アメリカのフロリダ州の北東部サウス・カロライナ州の大西洋岸に近いSPOLETO Feasival は音楽に止まらない音楽祭ですが，その開幕初日の演奏会が日本人作曲家の作品によって埋められるそうです．

昨年の大震災，津波そして原子力発電所の大人災のあと，良いことか悪いことか分かりませんが，日本への関心が高まっているということなのでしょう．

John Kennedy, the festival's resident conductor and long-time organizer of the Music in Time contemporary music series　が開幕で取り上げるのは，a concert of U.S. premieres by several of Japan's most distinguished composers:
Toshi Ichiyanagi；Symphony No. 8, which was written in response to the 　　　　　　　　　　　　　　　　　　　devastation　with a subtitle‚ Revelation 2011, 
Somei Satoh; Listening to Fragrances of the Dust
and
Toshio Hosokawa; an ode to spring

"These are all major composers," Bush(a Columbia-based pianist) says. "They're not as well-known as they should be." といわれていますから，このコンサートの意義は高く評価されて良いと思われます．

あとは，ご自由に，ご渉猟下さい．

  

Music in Time opener elicits Japan's recent catastrophes

Earthquake, Tsunami, and Prayer

by Lindsay Koob

Although Japan has been admired for the many great classical musicians it has spawned, its composers are less well known. This year's Music in Time series sheds some light on them with a concert of U.S. premieres by several of Japan's most distinguished composers: Toshi Ichiyanagi, Somei Satoh, and Toshio Hosokawa.

"These Japanese composers are as global as any other composers," says John Kennedy, the festival's resident conductor and long-time organizer of the Music in Time contemporary music series. "It's good for us to be reminded that a lot of fantastic music is being composed and not all is part of this European-American axis."

The program came together when the festival got permission to perform Ichiyanagi's Symphony No. 8, which was written in response to the devastation caused by the earthquake, tsunami, and resulting damage at a nuclear power plant early last year in Japan. The work premiered in the country in December 2011.

"We had the opportunity to perform it and it was too good to pass up," Kennedy says, "and then decided to make it an all-Japanese concert."

Ichiyanagi, 79, was one of the leaders of the Japanese avant-garde in the '50s and '60s and is considered the elder statesman of classical music in Japan. (He was married to an even better-known Japanese artist, Yoko Ono.) Ichiyanagi studied with John Cage and, over his long career, has created operas, orchestral works, and chamber music — works that mix traditional Japanese and Western instruments, and others that employ electronics.

The composer has said of Symphony No. 8, "This work has a subtitle‚ Revelation 2011, which comes from my feelings about the shocking national disaster caused by the great earthquake and resulting tsunami that hit east Japan. ... This unprecedented experience has led me to consider my thoughts on Japan's geographical features and on our way of living in the country."

While Revelation 2011 was inspired by the destructive power of nature, the other two works are tied to its gentler side. Satoh's Listening to Fragrances of the Dust is a quiet mediation on nature, while Garten Lieder by Hosokawa is an ode to spring.

Satoh, born in 1947, is a self-taught composer considered part of the minimalist movement and has worked extensively with visual and theater artists. Among his many unusual works was one for man-made fog, lasers, and eight speakers placed a kilometer apart from one another. Both the Kronos Quartet and Bang on a Can have commissioned pieces by Satoh. He's a favorite of Kennedy's, and his work has been featured in Music in Time in the past.

Hosokawa, 57, explores the relationship between Western avant-garde art and traditional Japanese culture and is heavily influenced by the transience of nature and the Buddhist notion of the balance between life and death. Well-established in Europe as well as in his native country, Hosokawa has written for solo instruments, orchestras, and chamber groups, along with operas and oratorio.

Morihiko Nakahara, music director of the South Carolina Philharmonic and a native of Japan, says that it's not surprising that Americans don't know much about these Japanese composers; the Japanese don't know all that much about contemporary American composers either. Until the last 10 to 15 years, finding recordings or sheet music by Japanese composers was difficult outside of Japan, says Nakahara, who has led the Philharmonic in performances by Japanese composers a few times.

The love of Western classical music that started in the late 19th century in Japan endures through serious music theory and history courses taught in Japanese schools. In an interview several years ago, the Japanese violinist Midori said, "For the Japanese, it is unfathomable that music is not taught in school curriculum."

Phillip Bush, a Columbia-based pianist who has been a member of the Steve Reich and Philip Glass ensembles, has performed works by Satoh and Ichiyanagi several times, including Ichiyanagi's Piano Media, of which he says, "I can tell you a lot about that piece — like how it will almost kill you if you try to play it.

"These are all major composers," Bush says. "They're not as well-known as they should be."