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マーラー(1860-1911)

CD 交響曲第9番 チョン・ミョンフン&ソウル・フィル

交響曲第9番 チョン・ミョンフン&ソウル・フィル

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  • ★★★★★ 
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  • ★★★★★ 

    MISPRISIONER  |  東京都  |  不明  |  2016年03月06日

    マーラーの《第九》は、メータでさえ避けて通る、マーラーの完成された9つの交響曲の中でも難物中の難物だが、臆することなく幾度も同曲を取り上げているチョン・ミョンフンは、流石に全く危なげなくオーケストラをドライヴしており、彼の複眼的な鋭いセンスは、この作品に宿る様々な音楽的魅力を巧みに引き出している。全体として、歌のニュアンスが優先するように見える作品の中に、リズムの活力を強く印象づけるのは、彼一流の行き方であると同時に、それがいつものチョンよりもはるかに細密な神経に貫かれ、音楽的生気の色合いを細やかに描いており、テンポの微妙な変動もまた極めて鋭く音楽的表情の造出に関わり合っている。彼の指揮は極めて深いヒューマンな味わいをもっている。それは、どうみてもカラヤンのような神がかった託宣でもないし、バーンスタインのようなモンスターの絶叫的な身振りからももっとも遠い、人間同士の心の交流のあり方である。さらに、音色に関しても、聴き手はこの蒼枯とした第一楽章の中にさえ、色調への周到な配慮を感ずることしばしばである。第二楽章は、抒情と形成を両手に等分に引っさげて縄を編んでゆくのを目にするような面白さがある。つづく第三楽章は、前述の音色のニュアンスと、リズムの推進力が素晴らしい。その変わり身の敏捷さは、マーラーの音楽の中の隠れた手品的妙味をくっきりとあらわにした。終楽章は、むしろ古典的な行き方の徹して、ひたすら頑丈を目指してきっちりとした終結感へと持ち込む。こうしてたくさんの見せ場を持ち出しながら、チョンは彼自身とマーラーを語りつくす。現代の「才」というものに照らされた典型的な演奏のひとつといいたい。

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  • ★★★★★ 

    村井 翔  |  愛知県  |  不明  |  2015年03月19日

    チョン・ミョンフンのマーラー9番は東フィル(2006年)、N響(2008年)との演奏を聴いたことがある。指揮者と曲との相性の良さは間違いなく感じたが、技術的に難のあるオケに足を引っ張られて(あくまで一昔前の話。両オケとも今は非常にうまいです)、必ずしも会心の演奏ではなかったように思う。しかし、このCDは見違えるような素晴らしい出来。ほぼ半年後に収録されたインバル/都響と実にいい勝負だが、演奏の性格は全く対照的だ。対位声部が克明に表出されたインバルの演奏はいかにもがっちりと作られた構築物という印象だが、チョンの方はさらに細かく緩急の変化をつけ、デリケートな陰影と柔軟な歌に富んでいる。写真を見ると弦の編成が非常に大きいことが分かるが(18型。ただし対向配置ではなく、指揮者の右横はヴィオラ)、決してゴリゴリ弾かせることはなく、弦の豊麗な歌はしなやかに流動する。特に第1楽章の構えの大きさ、呼吸の深さは出色。第2楽章も流麗な演奏だが、ここでは苦みの効いたアイロニーと3主題の描きわけが欲しい。こういう音楽はこのコンビ、意外に苦手かもしれない。第3楽章は副主題部でテンポを落とすほか、終盤の終楽章先取り部が遥かに遅いので、物理時間はインバルよりかかっているが、基本テンポはこちらの方が速い。技術的には限界ぎりぎりの猛烈なスピードだが、演奏からは強靱さよりもむしろ軽やかな俊敏さを感じる。もちろん最後は凄まじい突進を見せるが、大見得を切るようなアゴーギグは非常に個性的。終楽章ではインバルが強音のアタックを強調する楷書風演奏なのに対し、チョンは角を丸めて音楽を流線型につなげようとする。見事に正反対だ。ソウル・フィルの弦は強音よりも弱音、息をひそめて歌う部分の繊細なデリカシーに持ち味があるが、それはこの楽章最終盤で絶大な威力を発揮している。

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  • ★★★★★ 

    John  |  UNITED STATES  |  不明  |  2015年02月03日

    A confession: Mahler Ninth is a centerpiece that has constantly taken my heart and soul like no other music, and as such I can’t normally review recordings and concerts of the symphony without consuming much of my energy, without much thought and preparation. Japanese seem to love it to death ... Mahler Ninth appears in almost every orchestra’s program and there are multiple recordings by the domestic conductors/orchestra for sale currently. I can reason why the symphony is so popular in that country - it’s the second greatest piece of the 20th century according to some Japanese music critics’ polls. As for me, I’ve become nearly immune to ’the emotional punch’ (some may call it a disease) it’s supposed to carry and love the modern, albeit revolutionary, sound world of the music. Still, I could be easily worn out talking about the music, let alone reviewing particular recordings or concerts. So, I will try to keep my view of last Friday’s concert of Mahler Ninth Symphony at Seoul Arts Center, Republic of Korea, simple and straight. Chung’s M9th was sensible, well balanced, emotionally fully charged, and above all musically well shaped. The great first movement was a case in point. The opening measures taken at a tempo much slower than normal, unfolded with all the necessary gravitas and a sense of hesitation, an interpretive point that might seem out of place at first but would prove to make sense as the movement proceeds. When it came to great climaxes (there are three, not four as some might claim, in this movement), Chung didn’t usher all his angst and power at once. Rather, he wisely and efficiently let the music speak for itself, let them come out as naturally as one can imagine; at the height of the first climax that culminates with a trumpet fanfare he asked the timpani roll away ever so smoothly making it merge seamlessly into the following passage. In fact, the timpani, always crisp but authoritative and powerful, was outstanding throughout the performance. So were the trumpet and horn solos who not a single time put their feet wrongly. Much of he same could be said of the SPO percussion including tam tam, bass drum, bells, and cymbal. Those who know the music inside out probably know what I mean; Mahler Ninth would be nothing if it were not for these instruments. The point is, in such a profound and subtle work as Mahler Ninth, every detail and instruction counts. Every instrument, however small its role may appear in the score, counts. The British conductor Ben Zander makes exactly this point in his lecture, ”As much a collective effort it requires from the orchestra, Mahler Ninth asks for individual players who can play as if the piece was written for their instruments alone.” The two middle movements were surprisingly feet fleet, full of wicked humor and lively, inventive touches. For instance, at the start of II. SPO strings attacked each note with a full, sustained bowing, instead of giving it a staccato-like treatment as usual. Again, the timpani and horn got everything right including the tricky cross rhythm in the coda. But the most shocking of the performance came in the Rondo Burleske. That SPO could follow the conductor’s myriad, demanding instructions in every peak and valley of the score at such a breakneck speed was akin to a miracle. Well, these are technical things, but how about musical elements? Were they delivered as Mahler intended? Was the inevitable connection all the way back to the opening movement there? No matter how clumsy and crazy they may sound amid the whirlwind of dances and mockery? Melancholy, bitterness, poignancy, …. were they all there? Yes, unmistakably! The great Adagio began with an unusually hefty volume in the strings sound, sending a signal that it might be the only and last time we’ll hear them so rich and confident but never again for the rest of the movement. As I expected, Chung masterfully and gradually turned down the volume as the movement went on, culminating in one of the most hushed codas attached to the Finale I could ever recall. Alas, after the last note faded away Chung didn’t observe the silence long enough …. It would have been greater if he had prolonged it tad longer, for another 5 seconds or so. At any rate, so mesmerized by the interpretation and the impeccable playing the audience remained exactly as the pre-announcement had requested, i.e., silent! It is pointless to mention about the playing of Seoul Philharmonic Orchestra. By now they had turned themselves into one of the best ensembles in the world, easily matching with and even surpassing the best orchestras in Japan. As pointed out earlier, the importance of having perfect soloists couldn’t be emphasized enough and Chung, who knew this more than anyone else, made sure he gets the best out of the lot. And he did get them absolutely right. So many things under Chung’s hands went well that I would be nitpicking if I were to go on any further. Suffices to say that Mo Chung had lots of gestures in his sleeves but it had a clear direction and it showed. Overall, it reminded me of an outstanding concert by Edo de Waart and San Francisco Symphony Orchestra in the early 80s, but Chung’s was more intense and had more new things to say about this timeless masterpiece. Happily, the concert was preserved in its entirety for a CD release by the recording producer Michael Fine and Deutsche Grammophon. As for the CD, it is warm and detailed without any hint of digital recording. That is, it sounds very much like a vintage analog recording minus surface noises. Kudos to all involved, Chung’s goes straight to the top of the mountain Everest of Mahler Ninths.

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