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classicasobi - Personal Listening and Insight

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Globe: Muti and Vienna unified us at Carnegie by Mozart and Dvorak last Symphonies

Kentaro Ogasawara March 5, 2025

The Vienna Philharmonic and Muti's Carnegie Hall concert began its 3rd day with Mozart's last symphony, K. 511, written in the same key as Schubert's the previous day. The first movement features bold suspensions (rests) reminiscent of Baroque works. Muti plays everything in tempo. Every repetition is repeated. The flute and oboe's unison shone, the strings' graceful melody line, and the tutti in the second theme let us feel the cheerful Italian mood. Their Mozart had a grander scale than the Bruckner on the first day, even though fewer people performed. The second movement, Cantabile. The trembling gentleness of the muted (con sordini) strings. I felt the delicate vibrato behind the melody played by Honeck in front of me. I saw the true nature of Vienna, which plays a unique style that is different from other orchestras. It was spun out as a golden tone from the strings' vibration, which were as smooth as flour.

In a New York Times review, Zachary Wolf wrote about the final movement's fugue, "He and the Philharmonic had provided a more moving vision of an ideal society, during the great fugue in the finale of the 'Jupiter' Symphony. As each section enters, its fragility feels protected by the others. The ensemble builds and builds, coalescing into the sound of many different voices speaking at once: none drowned, the whole robust and free." The empathy that comes from the fact that Muti and the Vienna Philharmonic have continued to play to the best of their ability from the very first day, even though it is difficult, is the powerful, vital, graceful, hearty, and brilliant sound. Mozart's music was born from the fusion of local customs that arose during the Euro-globalization in the 18th and 19th centuries, and the Vienna Philharmonic was also founded in the 1840s. The Carnegie audience comprised individuals from diverse nationalities, with each seat occupied by a different nationality, even within the same row. And they were enveloped in the grandeur of Mozart, comparable to Bruckner and Mahler, born from the sympathy of the assertive Vienna. This is global. We experienced the true globalization they have achieved by coming to America every year. The second half was Dvořák's last symphony. I couldn't forget the grandeur of Jupiter until the end of the first movement, but when the English horn chorale in the second movement ended and the string tremolo began, I had no choice but to surrender to the world that emerged in my mind. The last two bars of the second movement were “Molto Adagio” that only Muti could do. I heard the audience behind me whisper that they "can't stand" the extreme suspense. The New World was written by the Czech Dvorak in New York in 1892. Now, 25 years after arriving in America, as a member of the Carnegie audience, I empathized with the American spirit conveyed by the Italian maestro and the Vienna Orchestra. I have never been interested in knowing the inside of their hearts, but for the first time, I could immerse myself in America's roots. The story that dwells in the sound they play, the hearts of the audience, Vienna, and Muti overlapped for a few minutes. Carnegie was silent. In this way, the souls that people have connected with —the familiar voice that sleeps in the hearts of humanity worldwide —are recalled by Muti and the Wiener Philharmoniker.

ウィーン・フィルとムーティのカーネギー公演の3日目は前日のシューベルトと同じCで書かれたモーツアルト最後の交響曲K511で始まった。1楽章はバロック作品のような大胆なサスペンション(休符)を伴う。ムーティは全部インテンポ。繰り返しは全部繰り返す。フルートとオーボエのユニゾンが輝く。弦楽器の優雅なメロディライン。第二テーマのバイオリンのトゥッティはイタリアの陽気な歌心を含んでいる。クラシック音楽の中でモーツアルトを聴くことは多いが、初日のブルックナーよりも実際に演奏する人の数は少ないのにより壮大なスケールだった。2楽章のカンタービレ。ミュートがかかった(con sordini)弦楽器の震えるようなやさしさ。目の前のホーネックが奏でるメロディの奥のビブラートのきめ細かな振動を感じてしまった。他のオーケストラと違う独特の演奏をするウィーンの正体を見てしまった。それは小麦粉の様にサラサラした弦が擦れる振動が黄金の音色となって紡ぎだされていた。終楽章のフーガについてニューヨークタイムスのレビューでザッカリー・ウルフはこう書いた、「大フーガで、理想の社会のより感動的なビジョンを披露していた。各セクションが始まると、その脆さは他のセクションによって守られているように感じる。アンサンブルはどんどん盛り上がり、一度に多くの異なる声が語りかける音に融合する。どれもかき消されることなく、全体が力強く自由である。」

”He and the Philharmonic had provided a more moving vision of an ideal society, during the great fugue in the finale of the “Jupiter” Symphony. As each section enters, its fragility feels protected by the others. The ensemble builds and builds, coalescing into the sound of many different voices speaking at once: none drowned, the whole robust and free.”

ムーティとウィーンフィルが初日からずっと続けている、大変でも自分を曲げず全力で演奏した結果から生じる共感。その力強く生命力が漲る優雅で心のこもった輝かしい響き。18、19世紀のユーロ国際化の中で生まれた、それぞれの地方独特の風俗の融合からモーツアルトの音楽は生まれ、ウィーン・フィルも1840年台に発足。カーネギーの聴衆は同じ列でも席毎に国籍が違う。そして、主張が激しいウィーンの共感から生まれたブルックナーやマーラーに匹敵する壮大なモーツアルトに包まれる。これがグローバル。彼らが毎年アメリカにやってきて実現してきた真のグローバリゼーションを体験していた。後半はドボルザークの最後の交響曲。第1楽章が終わるまでジュピターの壮大さが忘れられなかったが、第2楽章のイングリッシュホルンのコラールが終わり、弦楽器のトレモロが始まると、脳裏に浮かび上がる世界に身を委ねるしかなかった。第2楽章の最後の2小節はモルト・アダージョ。ムーティにしかできない最後の2小節だった。極度の緊張感に、後ろの観客から「耐えられない」というささやきが聞こえた。『新世界』はチェコのドヴォルザークが1892年にニューヨークで作曲した。渡米して25年経った今、カーネギーの観客の一員として、イタリアの巨匠とウィーン管弦楽団が奏でるアメリカ精神に共感した。これまで彼らの心の内を知ることに興味はなかったが、初めてアメリカのルーツに浸ることができた。彼らが奏でる音に宿る物語、観客とウィーン、そしてムーティの心が数分間重なり合った。カーネギーは沈黙した。こうして、人と人が繋がってきた魂、世界中の人類の心に眠る馴染み深い声がムーティとウィーン・フィルハーモニー管弦楽団によって呼び起こされる。

3.2.2025

Mozart – Symphony No.41 in C major, K.551, ‘Jupiter’

Allegro vivace

Andante cantabile

Menuetto: Allegretto – Trio

Molto allegro

Dvořák – Symphony No.9 in E minor, Op.95, ‘From the New World’

Adagio - Allegro molto, 2

Largo

Scherzo: Molto vivace – Poco sostenuto

Finale: Allegro con fuoco

Encore: Johann Strauss II – Overture to Der Zigeunerbaron

Wiener’s principals and Muti

2 of the Last works by Muti. He must come back in anyhow.


In review Tags vienna philharmonic, carnegie-hall, concert, Riccardo Muti
← London Symphony and Antonio Pappano at Carnegie HallMuti brings out the best in Venna at Carnegie Hall →

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