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Concert 2024-25

Most and Cleveland Orchestra's 23rd years fate in Carnegie Hall

Kentaro Ogasawara March 31, 2025

Franz Welser-Möst and the Cleveland Orchestra performed at Carnegie Hall on March 19th. Following Beethoven's Symphony No. 5, Janáček's House of the Dead, and Leonore the day before, they played Stravinsky's Petrushka and Tchaikovsky's Symphony No. 5. These are Russian pieces. Petrushka is a marionette known by many names across Europe: Punch in England, Polichinelle in France, Pulcinella in Italy, Kasperle in Germany, and Petrushka in Russia. He is a mischievous man, a rebel, and a wife-beater. He enforces moral justice with a wooden club, speaks in a high-pitched squeal, and argues with the devil. Mösto's sincere passion guides the orchestra as if the fate, the formula, and the subversion are repeated. Then, the Russian marionette is dragged away by a dog, a policeman, or the devil. The 1947 version, in which Stravinsky re-arranged the orchestra, was vivid and delicate. The tempo was calm, and the orchestra played every detail. The piccolo phrasing and the percussion have a tasteful effect. The voices and ensembles that are usually inaudible are played accurately. This is the maestro and Cleveland's masterful performance of 23 years of work. The beauty of the unison, the tremolo's smoothness, the staccato's lightness, and the outstanding solos were played faithfully. You can enjoy the refinement of Cleveland, who brings to life every Petrushka episode in the notes. The tempo and dynamics are straightforward to understand, each instrument understands the work well, and Stravinsky's character depiction and story development are played so well that it makes you laugh. The faces and personalities of the performers are well conveyed in the solos and ensembles. The opening theme has the same pattern as Janacek's previous day, a captured prisoner, a marionette. These keywords come to mind when Mesto's two programs include them. Tchaikovsky wrote his Symphony No. 4 in 1888, ten years after the previous work, at 48. The first sketches included a verbal program depicting the individual's reaction to an unchanging fate, including stages of resignation, defiance, and triumph. In other words, Tchaikovsky was hesitant to acknowledge his homosexuality publicly. Here, too, the common theme of fate appears in different forms, just like Beethoven's Symphony No. 5. A British musicologist points out that this theme is a quote from Glinka's aria, with the lyrics "Do not give yourself over to sorrow." In contrast to Stravinsky, despite the vague theme and the fuzzy personal feelings, this performance is also extremely clear, and the emotions are conveyed directly, showing how the notes depict an inescapable fate. At the beginning of the fate, the clarinet sighs as if dragging each note. As the strings begin Allegro con anima, they move forward slightly, but undoubtedly, and the clarinet and bassoon play in unison. The following pianissimo of the flute was modest and light but could be heard clearly. It is as if he is beginning to accept his fate and confessing his homosexuality. When the theme moves to the strings, the woodwind scales start, but since they are abundant in Stravinsky, they seem incredibly comfortable to play. This is the magic of Most's program. It is as if the members of Cleveland in front are destined to be Cleveland members, and the most essential qualities, such as scales and legato, are fundamental. Cleveland is conscientious and loving, and such tradition and refinement are revived as vivid, delicate, and passionate tones, even the chaotic personal emotions, as if they were just born and performed. Fate is affirmed in the finale with a magnificent orchestration. In Most and Cleveland's two-day program, we experienced the present we live in and the feelings that individuals are heading towards through Beethoven, Janacek, Stravinsky, and Tchaikovsky. The thunderous applause refers to what happens after Most and Cleveland's live in Carnegie Hall..

フランツ・ウェルザー=メストとクリーブランド管弦楽団が3月19日にカーネギーホールで演奏会を行った。前日のベートーベンの交響曲5番とヤナーチェクの死者の家から、そして、レオノーレの救済から翌日、ストラビンスキーのペトルーシュカとチャイコフスキーの交響曲5番を演奏した。ロシアの作品だ。ペトルーシュカは操り人形でヨーロッパ中でさまざまな名前で知られている。イギリスではパンチ、フランスではポリチネル、イタリアではプルチネッラ、ドイツではカスペルレ、ロシアではペトルーシュカ。いたずら好きで、反逆者で妻を殴る男。彼は木の棍棒で道徳的正義を強制し、甲高い金切り声で話し、悪魔と口論する。メストの真摯な情熱がオーケストラを導き、運命、定型、転覆が繰り返されるかのように。そしてロシアの操り人形は犬か警官か悪魔に引きずり出されてしまう。ストラヴィンスキーがオーケストラを編曲し直した1947年版は鮮やかで繊細だった。テンポは穏やかで、オーケストラは細部まで演奏する。ピッコロのフレージングやパーカッションが味わい深い。普段は聴こえない声やアンサンブルも緻密に演奏される。メストとクリーブランドの23年にわたる努力の結晶ともいえる名演。ユニゾンの美しさ、トレモロの滑らかさ、スタッカートの軽やかさ、忠実に奏でられる卓越したソロたち。音符に込められたペトルーシュカのあらゆるエピソードに命を宿し奏で上げクリーブランドの洗練を味わう。テンポとダイナミクスが非常にわかりやすく、それぞれの楽器が作品をよく理解していて、ストラビンスキーのキャラクター描写とストーリー展開が笑ってしまうくらいよく演奏されているし、ソロやアンサンブルの中で演奏者の顔や性格がよく伝わってくる。冒頭のあるテーマは前日のヤナーチェクのそれと音型が同じで、捕らわれた囚人、操り人形。こういったキーワードがメストの今回の2つのプログラムには含まれてくる。チャイコフスキーの交響曲4番はスランプから抜け出し前作から10年後の1888年に48歳で書いた。そして、最初のスケッチには、不変の運命に直面した個人の反応を描写した言葉によるプログラムが含まれていて、そこには諦め、挑戦、そして勝利の段階が含まれている。つまり、チャイコフスキーは同性愛を公に認めることをためらっている運命の葛藤を卓越した理解と技術で奏でる。ここにもベートーベンの5番同様に共通した運命のテーマが形を変え登場する。イギリスの音楽学者は、このテーマがグリンカのアリアからの引用で「悲しみに身を任せるな」という歌詞のものだと指摘している。ストラビンスキーとは対照でテーマのはっきりしない、もんもんとした個人的な感情にもかかわらず、こちらの演奏も最高に鮮明で、逃れられない運命を音符がどんなに描いているのか、感情がストレートに伝わってくる。運命の冒頭のクラリネットら、音一つ一つを引きずるように奏でる溜息。アレグロ・コン・アニマに入り弦はほんの少しだが確実に歩み始めクラリネットとファゴットのユニゾンが始まる。続くフルートのピアニッシモは控えめで軽やかだがはっきりと聴こえる。まるで自分の運命を受け入れ始め同性愛を告白している様に。主題が弦に移動すると、木管のスケールが始まるが、ストラビンスキーで山ほど出てきたため、演奏が極めて快適。メストのプログラムマジックだ。目の前のクリーブランドのみなさんが演奏家であることが運命だといわんばかりに一番大事な資質であるスケールやレガートなどの基本がクリーブランドは本当に丁寧で愛情があり、そういった伝統と洗練が、その混沌とした個人的な感情さえも、たった今生まれ演奏されているように鮮やかで繊細で情熱に溢れた音色となって甦る。運命はフィナーレで壮大なオーケストレーションで肯定されて終わる。メストとクリーブランドの2日間のプログラムでは、私たちが生きる今と個人が向かう気持ちを、ベートーベン、ヤナーチェク、ストラビンスキー、そしてチャイコフスキーを通じて体験した。割れんばかりの拍手で終わるメストとクリーブランドのカーネギーライブだった。

このリンクからライブ録音が聴けます。Listen live from the link

3.18.2025

The Cleveland Orchestra

Franz Welser-Möst, Music Director and Conductor

Program

STRAVINSKY Pétrouchka (1947 version)

TCHAIKOVSKY Symphony No. 5


Petrouchka Score




← Julia Fischer and Jan Lisiecki's Spring battle in New YorkFranz Welser-Möst and the Cleveland Orchestra - Fighter for freedom at Carnegie Hall →

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