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Londonian's Sparkle with Pappano on Carnegie Hall

Kentaro Ogasawara March 12, 2025

The London Symphony Orchestra and its principal conductor, Antonio Pappano, performed Rachmaninoff's Piano Concerto and Walton's Symphony No. 1 at Carnegie Hall on March 6. Rachmaninoff's Piano Concerto is richly orchestrated and packed with inspiration for the solo instruments. The work's opening melodic flow, the graceful melody of the slow movement after a pensive woodwind solo and a throbbing cadenza, and the finale, which begins with a mystical march and gradually builds to a magnificent climax that feels like a cathartic climax for the entire work, are just some of the many magical details. Among the orchestra's many magical details are the shimmering strings and distant horn melody in the first movement's recapitulation (one of Rachmaninoff's most sublime moments), the flute and clarinet solos in the slow movement, and the breathtaking pedal point following the endlessly quoted second theme in the finale, showcasing the seamless fusion of soloist and ensemble. The second half, Walton's Symphony No. 1, was written in the 1930s. Quiet horns, strings, and oboes subtly create restless rhythms and repetitive ostinatos, swaying one after the other to a shocking climax. The dissonances are fierce, and the final release in a major key. Almost Sibelius. Apparently, this piece is rarely performed in the United States, so it's a welcome addition to a New York concert dominated by Brahms. London and Pappano delighted me with their new sound, masterful performance, and fresh program during the two New York performances. I'm looking forward to experiencing the conductor and orchestra's performances, which feature profound yet straightforward works, including Baroque pieces with ties to Britain, such as those by Purcell and Handel, as well as newer works and Beethoven.

ロンドン交響楽団と首席指揮者のアントニオ・パッパーノは3月6日にカーネギーホールで、ラフマニノフのピアノ協奏曲とウォルトンの交響曲1番を演奏した。ラフマニノフのピアノ協奏曲はソロにオーケストレーションが充実していて、ソロ楽器のインスピレーションが詰まっている。作品の冒頭で情熱的なメロディーの流れ、物思いにふける木管楽器のソロと激しいカデンツァの後の緩徐楽章での優雅な旋律、そして神秘的な行進で始まり、作品全体のカタルシスのように感じられる壮大なクライマックスに向かって徐々に盛り上がっていくフィナーレなどなど。多くの魔法のようなディテールの中には、第1楽章の再現部で揺らめく弦楽器の音に遠くから響くホルンのメロディー(ラフマニノフの最も崇高な瞬間の 1 つ)、緩徐楽章のフルートとクラリネットのソロ、そして終楽章で延々と引用される第2主題に続く息もつかせぬペダルポイントなどソリストとアンサンブルのシームレスな融合。後半のウォルトンの交響曲1番は1930年台に書かれた。静かなホルン、弦楽器、オーボエが、落ち着きのないリズムと反復するオスティナートを微妙に作り出し、次々と衝撃的なクライマックスへと揺れ動く。不協和音は猛烈で最後には長調に解放される。ほぼシベリウス。この曲はアメリカではほぼ演奏されないそうなので、どの演奏会でもブラームスばかりのニューヨークの演奏会では非常にありがたい。ロンドンとパッパーノは新しい音の印象、卓越した演奏、新鮮なプログラムで2回のニューヨーク公演を楽しませてくれた。パーセルやヘンデルなど、イギリスにゆかりあるバロックと新曲やベートーベンなどシンプルだが奥が深い作品で、この指揮者とオーケストラの演奏を心から味わってみたい。

3.6.2025

London Symphony Orchestra

Sir Antonio Pappano, Chief Conductor

Yunchan Lim, Piano

Program

RACHMANINOFF Piano Concerto No. 2

WALTON Symphony No. 1

Encores:

LISZT "Sonetto del Petrarca No. 104" from Années de pèlerinage, deuxième année: Italie, No. 5 (Yunchan Lim)

SIBELIUS Valse triste

Eivind Ringstad, Principal Viola

Rebecca Gilliver, Principal Cello

パッパーノは全員引き立てる。珍しい曲でも最後まで興味が失われない。


← Franz Welser-Möst and the Cleveland Orchestra - Fighter for freedom at Carnegie HallLondon Symphony and Antonio Pappano at Carnegie Hall →

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