« 2014年4月 | トップページ | 2014年6月 »


2014年5月30日 (金)

Matthias Goerne recital--Schubert Lieder-Zykler

14, May 2014, 19:00
Kioi Hall
Matthias Goerne, Balitone & Alexander Schmalcz, Piano

Ludwig van Beethoven: An die Ferne Geliebte op.98
Franz Schubert: Schwanengesang D.957

Matthias Goerne, a 47 year-old German baritone singer, performed Schubert's song cycles at three concerts in a row at Kioi Hall in Tokyo.
I attended one of them, at which he sang Schubert's "Schwanengesang" (Swan Song, in English).

Although I had not planned to attend his concerts, I luckily won the concert ticket in a lottery.
I presumed that the ticket sales of the concerts were much worse than expected.
Perhaps, one reason why is that all the concerts were held on weekdays, just in Tokyo.
If they were scheduled on the weekend, more fans could have attended them from a distance.
My guess is that the organizer thought it was better to fill up vacant seats even by free tickets.

At any rate, I gratefully attended the concert in expectation.

Goerne's voice was soft like velvet.
His articulation was flowing and edgeless, and the words were pleasant to the ears, even though the lyrics were written in German.

"Schwanengesang" was composed shortly before Schubert's death, and posthumously published.
This cycle includes several songs which have a dark or somber atmosphere, quite likely reflecting the diseased composer's loneliness and fear in his last days.
Absorbed in Goerne's profound interpretations, I felt like I was on a journey to the inner world of Schubert, which hovers between solitude and intimacy, despair and peace, life and death.

| | コメント (0) | トラックバック (0)

2014年5月12日 (月)

How to Meet Musicians

These days, thankfully, a lot of classical music concerts given in Europe or the United States are broadcasted direct from concert halls via the Internet or webcasted as recorded radio show, by streaming or on-demand.
So, for me, the ways of listening to music and meeting new musicians have been changing.

Before I started to listen to concerts live on the Internet, CDs generally brought me a first opportunity for access to the performers whom I was interested in.
However, the biggest problem is that playings recorded in a studio are edited down to detail and made perfect, no mistakes nor failures.
It is a kind of cut-and-paste music.
I admit that if it went well, that could be an exquisite artifact, so I don't think it is always wrong to make music in such a way.
However, during recording, players play the same passages countless times, I'm sure that recorded music can't preserve something important for music.
That is to say, life of music escapes into somewhere, and there remain only shadows.
Moreover, edited music can't exactly tell me the player who he/she is.
Even if I have a good impression on his/her CD, I am sometimes disappointed with actual playings at a concert hall, above all, unstable technique as compared to the recorded and well-produced music.

Recently, live streaming or on-demand of concerts, especially performances of music competitions have increased my chance for first meeting young, talented but unknown musicians.
It is joyful for me to find someone at competitions and witness their long-term changes after the competitions.

The other day, I attended Lukas Geniusas piano recital at LFJ au Japon.
I "met " him at the Fryderyk Chopin International Piano Competition 2010 via the Internet streaming.
This time, he played an all-Chopin program, consisting of 24 Etudes, op.10 & op.25.
I loved his bravery to play such a tough program.
As an encor, he performed the final movement of Prokofiev Sonata No.7.
The tempo was relatively slow, but every sound was tight, well-controlled, and luminous.
His performance was powerful, large-scaled, and even very mature for his age.







| | コメント (0) | トラックバック (0)

2014年5月 9日 (金)






| | コメント (0) | トラックバック (0)

« 2014年4月 | トップページ | 2014年6月 »