休日出勤の帰りに、ロイヤルフィスバルホールのフィルハーモニー管弦楽団のコンサートに寄り道しました。指揮がロリン・マゼールというのに魅かれたためです。いろんな意味で有名なロリン・マゼールの指揮は以前から一度は見てみたいと思っていたものです。
プログラムは比較的短めの曲で構成されていました（30分を超える曲がない）。しかし、いずれの曲も、管楽器、弦楽器、打楽器の個性が各々フルに楽しめる曲ばかりで、軽めながらも非常に楽しめるプログラムでした。（マゼール自身の作曲の音楽はちょっとついて行けませんでしたが・・・）
日本では、一種神様扱いされている指揮者のように感じていましたが、それほどのオーラというか、カリスマは正直感じませんでした。３階席の奥からの観察だったかもしれません。
やはり圧巻はボレロですね。管楽器をバンバンに鳴らす西洋のオーケストラにはこういう音楽は映えます。（数年前にＮ響で聞いた時は、管がイマイチで非常に欲求不満が残るものでした。）今日は、かなりハイピッチなボレロでしたが、十分に楽しむことが来ました。
ただ、ちょっと意外だったのは、マゼールってロンドンではあまり人気がないのでしょうか？１曲目、３曲目はカーテンコールなし、２曲目も１回きりで、随分とさっぱりした今日の聴衆でした。また、曲が短かったこともあり、コンサート自体は１時間４０分程で終わってしまいました。今日も￡１２の３階席なので、気にはなりませんし、日曜日なので早く帰れる分には良いのですが、￡２０以上のチケットを買っていたら、絶対損した感じがしたと思います。（★★★☆☆）
２曲目のMusic for Flute and Orchestraが終わった後です。
ボレロが終わった後のご挨拶
Royal Festival Hall
Philharmonia Orchestra Sunday 5 April 2009
Gioachino Rossini: Overture The Thieving Magpie
Lorin Maazel: Music for Flute and Orchestra
Paul Dukas: The Sorcerer's Apprentice
Maurice Ravel: Bolero
Lorin Maazel conductor
Sir James Galway flute
Music for Flute and Orchestra was commissioned by James Galway, this afternoon's soloist, after hearing Maazel's Music for Cello and Orchestra.
By turns 'tender, fun-loving, wistful and ebullient' it is accompanied by equally sparkling works: Rossini's overture to his comic opera The Thieving Magpie and The Sorcerer's Apprentice, famous for its dazzling orchestral colours and vivid depiction of Goethe's tale.
Ravel's great tribute to the crescendo provides an exhilarating climax as he exposes the orchestral family instrument by instrument above the snare drum's bolero rhythm.
※（4月10日追記）Timesにこの日とは別のマゼール指揮の演奏会の批評がありましたが、非常に厳しいものでした。
Philharmonia / Maazel at Festival Hall Hilary Finch
★★☆☆☆
And so Lorin Maazel’s little four-day festival, celebrating his fiftieth anniversary with the Philharmonia, has come to an end. It’s a relationship whose cordiality one can read about in detail, but which fails somehow to project from stage to auditorium. Maazel chose the works that meant most to him: what a pity that he was unable to convey to us exactly what they do mean.
Shostakovich’s Fifth Symphony, for example. The only fascination I could discover was with how the constituent parts came together. If you concentrated on this, as Maazel was doing with his minutely observant baton, there was a degree of satisfaction in watching the pieces of the jigsaw being meticulously fitted together. But to what effect?
Maazel is famed for his photographic memory; and here was a clever photomontage, lacking the breath and the quick energy of a brushstroke. The pulsing accompaniment of the lower strings to the violins’ grey mist of a melody merely chugged. And when the melody returned in the voice of the flute, for once it failed to catch the breath. It merely slotted into place. There is, of course, much that is brutish and machine-like in Shostakovich, but this contrived mechanism works because it is in constant tension with the pulsing of the human heart. This tension did not exist in Maazel’s performance because the heart was inaudible.
The Philharmonia had, perhaps unwisely, encouraged Maazel to programme his own works. His Music for Violoncello and Orchestra is a suite of eight sections with linking bridges in which the soloist (Han-Na Chang) had to do strenuous business with selected orchestral soloists, including accordion, trumpet and percussion. The programme spoke of infinite tenderness, horrors and of a “man-made Luna Park hell”. Well, the last image was the most apposite for a work that lived entirely for and within itself, expressively arid, and charged with no sense of any inner necessity.
プログラムは比較的短めの曲で構成されていました（30分を超える曲がない）。しかし、いずれの曲も、管楽器、弦楽器、打楽器の個性が各々フルに楽しめる曲ばかりで、軽めながらも非常に楽しめるプログラムでした。（マゼール自身の作曲の音楽はちょっとついて行けませんでしたが・・・）
日本では、一種神様扱いされている指揮者のように感じていましたが、それほどのオーラというか、カリスマは正直感じませんでした。３階席の奥からの観察だったかもしれません。
やはり圧巻はボレロですね。管楽器をバンバンに鳴らす西洋のオーケストラにはこういう音楽は映えます。（数年前にＮ響で聞いた時は、管がイマイチで非常に欲求不満が残るものでした。）今日は、かなりハイピッチなボレロでしたが、十分に楽しむことが来ました。
ただ、ちょっと意外だったのは、マゼールってロンドンではあまり人気がないのでしょうか？１曲目、３曲目はカーテンコールなし、２曲目も１回きりで、随分とさっぱりした今日の聴衆でした。また、曲が短かったこともあり、コンサート自体は１時間４０分程で終わってしまいました。今日も￡１２の３階席なので、気にはなりませんし、日曜日なので早く帰れる分には良いのですが、￡２０以上のチケットを買っていたら、絶対損した感じがしたと思います。（★★★☆☆）
２曲目のMusic for Flute and Orchestraが終わった後です。
ボレロが終わった後のご挨拶
Royal Festival Hall
Philharmonia Orchestra Sunday 5 April 2009
Gioachino Rossini: Overture The Thieving Magpie
Lorin Maazel: Music for Flute and Orchestra
Paul Dukas: The Sorcerer's Apprentice
Maurice Ravel: Bolero
Lorin Maazel conductor
Sir James Galway flute
Music for Flute and Orchestra was commissioned by James Galway, this afternoon's soloist, after hearing Maazel's Music for Cello and Orchestra.
By turns 'tender, fun-loving, wistful and ebullient' it is accompanied by equally sparkling works: Rossini's overture to his comic opera The Thieving Magpie and The Sorcerer's Apprentice, famous for its dazzling orchestral colours and vivid depiction of Goethe's tale.
Ravel's great tribute to the crescendo provides an exhilarating climax as he exposes the orchestral family instrument by instrument above the snare drum's bolero rhythm.
※（4月10日追記）Timesにこの日とは別のマゼール指揮の演奏会の批評がありましたが、非常に厳しいものでした。
Philharmonia / Maazel at Festival Hall Hilary Finch
★★☆☆☆
And so Lorin Maazel’s little four-day festival, celebrating his fiftieth anniversary with the Philharmonia, has come to an end. It’s a relationship whose cordiality one can read about in detail, but which fails somehow to project from stage to auditorium. Maazel chose the works that meant most to him: what a pity that he was unable to convey to us exactly what they do mean.
Shostakovich’s Fifth Symphony, for example. The only fascination I could discover was with how the constituent parts came together. If you concentrated on this, as Maazel was doing with his minutely observant baton, there was a degree of satisfaction in watching the pieces of the jigsaw being meticulously fitted together. But to what effect?
Maazel is famed for his photographic memory; and here was a clever photomontage, lacking the breath and the quick energy of a brushstroke. The pulsing accompaniment of the lower strings to the violins’ grey mist of a melody merely chugged. And when the melody returned in the voice of the flute, for once it failed to catch the breath. It merely slotted into place. There is, of course, much that is brutish and machine-like in Shostakovich, but this contrived mechanism works because it is in constant tension with the pulsing of the human heart. This tension did not exist in Maazel’s performance because the heart was inaudible.
The Philharmonia had, perhaps unwisely, encouraged Maazel to programme his own works. His Music for Violoncello and Orchestra is a suite of eight sections with linking bridges in which the soloist (Han-Na Chang) had to do strenuous business with selected orchestral soloists, including accordion, trumpet and percussion. The programme spoke of infinite tenderness, horrors and of a “man-made Luna Park hell”. Well, the last image was the most apposite for a work that lived entirely for and within itself, expressively arid, and charged with no sense of any inner necessity.
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