ポリーニの円熟味とティーレマンの重厚さが調和するブラームスの名演：ピアノ協奏曲第2番の解説
ブラームスのピアノ協奏曲第2番は、彼の最後に作曲した協奏曲です。この作品は、ブラームスが22歳で作曲したピアノ協奏曲第1番とは対照的に、彼が47歳になってから完成させました。ブラームスは、この作品を作曲する前に、約20年間協奏曲を作曲していませんでした。その間に、彼は交響曲や室内楽などの分野で多くの傑作を生み出しました。
ブラームスは、1878年に初めてイタリアを訪れた際に、この作品の着想を得たと言われています。イタリアの美しい風景や気候に感動したブラームスは、その印象を音楽に反映させようとしました。その結果、この作品は、ブラームスにしては珍しく明るく陽気な雰囲気を持つものになりました。
しかし、その明るさとは裏腹に、この作品は非常に大規模で難解なものでもあります。4楽章からなるこの作品は、演奏時間が約50分という長大なものです。また、ピアノだけでなくオーケストラも重要な役割を果たしており、特に第3楽章ではチェロが独奏を担当します。このように、この作品はピアノ協奏曲というよりも、ピアノとオーケストラの対話という性格を持つものと言えるでしょう。
ブラームスは、この作品を完成させた後、自分の友人であるエドゥアルト・マルクスゼンに手紙を送りました。その中で彼は、「私はあなたに小さなピアノ協奏曲を送ります。しかし、あなたがそれを見るときには驚くでしょう。それは小さくて可愛らしいものではありません」と冗談めかして書きました。そして、「私はあなたにこの作品を献呈します」と付け加えました。マルクスゼンは、ブラームスの作曲の師匠であり、彼が若い頃から音楽的に支えてきた人物でした。ブラームスは、自分の最後の協奏曲をマルクスゼンに捧げることで、彼への感謝と敬意を表したのです。
ブラームスのピアノ協奏曲第1番と第2番は、彼の作品の中でも特に重要な位置を占めるものです。しかし、これらの作品は、作曲された時期や音楽的な性格において大きな違いがあります。
ピアノ協奏曲第1番は、ブラームスが22歳の時に作曲したものです。この作品は、元々は交響曲として始められたものでしたが、ブラームスはその途中で形式を変えて協奏曲にしました。この作品は、ブラームスが憧れていたロベルト・シューマンが精神病院に入院したことや、シューマンの妻であるクララ・シューマンとの複雑な関係に影響されています。そのため、この作品は、悲しみや苦悩、怒りや闘争などの感情が強く表現されています。また、この作品は、ブラームスがシューマンから受け継いだロマン派的な要素と、彼自身が追求した古典的な厳格さとの間で揺れ動いていることを示しています。
ピアノ協奏曲第2番は、ブラームスが47歳になってから完成させたものです。この作品は、彼が初めてイタリアを訪れた際に受けた印象を基に書かれています。そのため、この作品は、ブラームスにしては珍しく明るく陽気な雰囲気を持っています。しかし、その明るさとは裏腹に、この作品は非常に大規模で難解なものでもあります。4楽章からなるこの作品は、演奏時間が約50分という長大なものです。また、ピアノだけでなくオーケストラも重要な役割を果たしており、特に第3楽章ではチェロが独奏を担当します。このように、この作品はピアノとオーケストラの対話という性格を持つものと言えるでしょう。
以上のように、ブラームスのピアノ協奏曲第1番と第2番は、彼の人生や音楽観の変化を反映した作品であり、それぞれに異なる魅力を持っています。
マウリツィオ・ポリーニは完全主義者として知られており、レコーディングには慎重に臨むのが常です。
そのようなポリーニが同じ曲を3度も録音するというのは異例のことであり、これはポリーニが同曲にいかに深い愛着を持っているのかを示しています。
最初の録音は、アバド＆ウィーン・フィルとともに行ったスタジオ録音（1976年）です。ポリーニとアバドの激しいぶつかり合いが眼前に浮かぶほどの熱のこもった迫力ある演奏を展開していました。
2度目の録音は、アバド＆ベルリン・フィルとともに行ったライヴ録音（1995年）です。これはポリーニの個性が全面的に発揮された演奏でした。
クラウディオ・アバドは、協奏曲の録音を行う際にはソリストの演奏を下支えする役割に徹するのが常ですが、そうしたアバド、そしてベルリン・フィルという当時最高の豪華コンビをバックとして、ポリーニがその個性と実力を十二分に発揮した演奏を展開しています。
そして、本演奏は、2度目の演奏から18年を経た後のものですが、これは素晴らしい名演と評価します。そもそもポリーニのピアノ演奏が、1995年盤とは段違いの素晴らしさです。
1995年盤に顕著であった技巧臭さえ感じさせる無機的な演奏など薬にしたくもありません。
もちろん超絶的な技量は健在ではありますが、どこをとっても懐の深い豊かな情感が満ち溢れています。
これは、ポリーニの円熟によることは間違いないところであり、ポリーニが演奏の技術的な正確さ、緻密さを追求するのではなく、このような情感豊かな演奏を行うようになったことに深い感慨を覚えます。
このような演奏を聴いていると、ポリーニこそは名実ともに現代を代表する偉大なピアニストの1人であることを痛感せざるを得ません。
ポリーニとしては3度目の同曲の演奏ということになりますが、3度目の正直との諺のとおり、ようやく自他ともに満足できる名演を成し遂げることができたと言えるでしょう。
かかる偉大なポリーニのピアノ演奏を下支えするティーレマン＆シュターツカペレ・ドレスデンについては、このコンビならばもう少しハイレベルの演奏を望みたい気もしないでもありません。
同曲は、ピアノ伴奏つき交響曲との異名をとるだけに、同曲の分厚いオーケストレーションを活かしたより重厚かつ雄渾なスケールの演奏を望みたいと思った聴き手は私だけではないでしょう。
ティーレマンは、まだまだ成長の余地があると思います。彼は、ブラームスの音楽に対する理解や感性を深めることで、より豊かな表現力を身につけることができると思います。
Brahms' masterpiece that harmonizes Pollini's mellowness with Thielemann's profoundness: Commentary on Piano Concerto No. 2
Brahms's Piano Concerto No. 2 was the last concerto he composed. This work was completed by Brahms at the age of 47, in contrast to his Piano Concerto No. 1, which he composed at the age of 22. Before Brahms composed this work, he had not composed a concerto for about 20 years. During that time, he created many masterpieces in areas such as symphony and chamber music.
Brahms is said to have gotten the idea for this work when he first visited Italy in 1878. Brahms was moved by Italy's beautiful landscapes and climate and tried to reflect those impressions in his music. As a result, this work has a bright and cheerful atmosphere, which is unusual for Brahms.
However, despite its brightness, this work is also extremely large-scale and difficult to understand. This piece consists of four movements and has a performance time of approximately 50 minutes. In addition to the piano, the orchestra also plays an important role, especially in the third movement, where the cello takes the solo role. In this way, this work can be said to have the character of a dialogue between piano and orchestra rather than a piano concerto.
After Brahms completed this work, he sent a letter to his friend Eduard Marxsen. In it, he jokingly wrote, "I'm sending you a little piano concerto. But you'll be surprised when you see it. It's not small and pretty." And he added, "I dedicate this work to you." Markusen was Brahms' compositional master and someone who supported him musically from a young age. Brahms expressed his gratitude and respect for Marxsen by dedicating his last concerto to him.
Brahms's Piano Concertos No. 1 and No. 2 are among the most important of his works. However, these works differ greatly in the period in which they were composed and their musical characteristics.
Brahms composed Piano Concerto No. 1 when he was 22 years old. This work originally began as a symphony, but Brahms changed its form and turned it into a concerto. This work was influenced by the fact that Robert Schumann, whom Brahms admired, was admitted to a mental hospital, and the complicated relationship between him and Schumann's wife, Clara Schumann. Therefore, this work expresses strong emotions such as sadness, anguish, anger, and struggle. This work also shows that Brahms oscillated between the Romantic elements inherited from Schumann and the classical rigor that he himself pursued.
Brahms completed his Piano Concerto No. 2 when he was 47 years old. This work is based on his impressions from his first visit to Italy. Therefore, this work has a bright and cheerful atmosphere, which is unusual for Brahms. However, despite its brightness, this work is also extremely large-scale and difficult to understand. This piece consists of four movements and has a performance time of approximately 50 minutes. In addition to the piano, the orchestra also plays an important role, especially in the third movement, where the cello takes the solo role. In this way, this piece can be said to have the character of a dialogue between piano and orchestra.
As mentioned above, Brahms's Piano Concertos No. 1 and No. 2 are works that reflect changes in his life and musical outlook, and each has a different charm.
Maurizio Pollini is known as a perfectionist and is always careful when recording.
It is unusual for Pollini to record the same song three times, and this shows how deeply attached Pollini was to the same song.
The first recording was a studio recording with Abbado and the Vienna Philharmonic (1976). The performance was so passionate and powerful that you could almost feel the intense clash between Pollini and Abbado.
The second recording was a live recording with Abbado and the Berlin Philharmonic (1995). This was a performance in which Pollini's individuality was on full display.
When Claudio Abbado records a concerto, he usually plays the role of supporting the soloist's performance, but with the backing of Abbado and the most luxurious duo of the time, Pollini was able to express his individuality. We are developing performances that fully demonstrate our abilities.
This performance was performed 18 years after the second performance, and I rate it as a wonderful masterpiece. To begin with, Pollini's piano performance is completely different from the 1995 version.
I don't want to criticize the inorganic performance that even gives off a hint of technique, which was noticeable in the 1995 edition.
Of course, his transcendental skills are still there, but he is also full of deep, rich emotion.
There is no doubt that this is due to Pollini's maturity, and that Pollini came to perform with such emotional richness rather than pursuing technical accuracy and precision in his playing. I feel deep emotion.
When listening to a performance like this, one cannot help but realize that Pollini is one of the great pianists of our time, both in name and reality.
This is Pollini's third performance of the same song, and as the saying goes, the third time is the last time he is honest, and it can be said that he was finally able to perform a masterpiece that satisfies both himself and others.
Regarding Thielemann and Staatskapelle Dresden, who support Pollini's great piano playing, I would like to see this duo play at a higher level.
As this song is known as a symphony with piano accompaniment, I am sure I am not the only listener who wanted to see a more profound and powerful scale performance that takes advantage of the song's thick orchestration.
I think Thielemann still has room to grow. I think he will be able to acquire a richer expressive power by deepening his understanding and sensitivity towards Brahms' music.
Brahms' masterpiece that harmonizes Pollini's mellowness with Thielemann's profoundness: Commentary on Piano Concerto No. 2
Brahms's Piano Concerto No. 2 was the last concerto he composed. This work was completed by Brahms at the age of 47, in contrast to his Piano Concerto No. 1, which he composed at the age of 22. Before Brahms composed this work, he had not composed a concerto for about 20 years. During that time, he created many masterpieces in areas such as symphony and chamber music.
Brahms is said to have gotten the idea for this work when he first visited Italy in 1878. Brahms was moved by Italy's beautiful landscapes and climate and tried to reflect those impressions in his music. As a result, this work has a bright and cheerful atmosphere, which is unusual for Brahms.
However, despite its brightness, this work is also extremely large-scale and difficult to understand. This piece consists of four movements and has a performance time of approximately 50 minutes. In addition to the piano, the orchestra also plays an important role, especially in the third movement, where the cello takes the solo role. In this way, this work can be said to have the character of a dialogue between piano and orchestra rather than a piano concerto.
After Brahms completed this work, he sent a letter to his friend Eduard Marxsen. In it, he jokingly wrote, "I'm sending you a little piano concerto. But you'll be surprised when you see it. It's not small and pretty." And he added, "I dedicate this work to you." Markusen was Brahms' compositional master and someone who supported him musically from a young age. Brahms expressed his gratitude and respect for Marxsen by dedicating his last concerto to him.
Brahms's Piano Concertos No. 1 and No. 2 are among the most important of his works. However, these works differ greatly in the period in which they were composed and their musical characteristics.
Brahms composed Piano Concerto No. 1 when he was 22 years old. This work originally began as a symphony, but Brahms changed its form and turned it into a concerto. This work was influenced by the fact that Robert Schumann, whom Brahms admired, was admitted to a mental hospital, and the complicated relationship between him and Schumann's wife, Clara Schumann. Therefore, this work expresses strong emotions such as sadness, anguish, anger, and struggle. This work also shows that Brahms oscillated between the Romantic elements inherited from Schumann and the classical rigor that he himself pursued.
Brahms completed his Piano Concerto No. 2 when he was 47 years old. This work is based on his impressions from his first visit to Italy. Therefore, this work has a bright and cheerful atmosphere, which is unusual for Brahms. However, despite its brightness, this work is also extremely large-scale and difficult to understand. This piece consists of four movements and has a performance time of approximately 50 minutes. In addition to the piano, the orchestra also plays an important role, especially in the third movement, where the cello takes the solo role. In this way, this piece can be said to have the character of a dialogue between piano and orchestra.
As mentioned above, Brahms's Piano Concertos No. 1 and No. 2 are works that reflect changes in his life and musical outlook, and each has a different charm.
Maurizio Pollini is known as a perfectionist and is always careful when recording.
It is unusual for Pollini to record the same song three times, and this shows how deeply attached Pollini was to the same song.
The first recording was a studio recording with Abbado and the Vienna Philharmonic (1976). The performance was so passionate and powerful that you could almost feel the intense clash between Pollini and Abbado.
The second recording was a live recording with Abbado and the Berlin Philharmonic (1995). This was a performance in which Pollini's individuality was on full display.
When Claudio Abbado records a concerto, he usually plays the role of supporting the soloist's performance, but with the backing of Abbado and the most luxurious duo of the time, Pollini was able to express his individuality. We are developing performances that fully demonstrate our abilities.
This performance was performed 18 years after the second performance, and I rate it as a wonderful masterpiece. To begin with, Pollini's piano performance is completely different from the 1995 version.
I don't want to criticize the inorganic performance that even gives off a hint of technique, which was noticeable in the 1995 edition.
Of course, his transcendental skills are still there, but he is also full of deep, rich emotion.
There is no doubt that this is due to Pollini's maturity, and that Pollini came to perform with such emotional richness rather than pursuing technical precision and precision in his playing. I feel deep emotion.
When listening to performances like this, one cannot help but realize that Pollini is one of the great pianists of our time, both in name and reality.
This is Pollini's third performance of the same song, and as the saying goes, the third time is the last time he is honest, and it can be said that he was finally able to perform a masterpiece that satisfies both himself and others.
Regarding Thielemann and Staatskapelle Dresden, who support Pollini's great piano playing, I would like to see this duo play at a higher level.
As this song is known as a symphony with piano accompaniment, I am sure I am not the only listener who wanted to see a more profound and powerful scale performance that takes advantage of the song's thick orchestration.
I think Thielemann still has room to grow. I believe that by deepening his understanding and sensitivity towards Brahms' music, he will be able to acquire a richer expressive power.