Brahms

この所、Johannes Brahmsの英雄像に懐疑の目が向けられています。それは権威の失墜を示唆する事態ではなく、" Neue Bahnen " によってRobert Schumannより嘱望された役割からの勇気ある解放を促すsalvationであるとも言えるでしょう。彼の位置づけは今や「Beethoven」譲りのjacketを着せられた後継者ではなく、異なる地平でひたすら美しい音楽を書き残した「自由人」なのですからね。

Igor LevitはHerculeanな態度とは異なる私達の弱さや秘めやかさといった領域から真の強さを引き出す事が出来る名手です。その点において両者はmagneticに惹かれ合っている...まず、小品集は手放しの賞賛を受けて然るべきです。作曲者晩年のintellectualな境地はこのpianistのキャラと実に適合している…当人も相当深く感じ入ったと思われます…Op. 117, No. 2、Op. 118, No. 2、そしてOp. 119, No. 1等における荘子の " 人莫鑑於流水、而鑑於止水 " の一節を思わせる語り口に触れれば双方の喜ばしい調和を誰もが認めざるを得ないでしょう。

堂々とした体躯も相まっていかにも重厚な正統派の演奏を提供してくれそう、と思われがちなChristian Thielemannですが、その真骨頂は寧ろtie-upを組んだsoloistへの傾聴力から発揮されるcoordinatorとしての資質にあるのかもしれない...本作においては19世紀的なdramaturgyに「あえて」迎合せず、抑制的にcontrolされたWiener Philharmonikerの醸し出すある種のquietnessにはEdmund Husserlの現象学的態度との連関にmusical epochéを導き出した「鍵盤で語るanalogist」特有の沈潜した美学に対するsympathizeを感じ取る事が出来ます。

評価は見事に二分しました。controversialな反応のうち否定的な見解の多くはorchのromanticismの乏しさに向けられていますが、戦犯として糾弾する前に行間を読み取って下さい。Gilelsに対するJochumのように振舞えばLevitのprofilingとは合致しない。では、2篇のconcertoに折り込まれたcore valueとは？刷新された解釈可能性の提示です。つまり、過去の栄華の再現ではなく「より閑寂枯淡としたBrahmsがあっても良いのでは？」という、一種の問題提起。

この度提示された勇気ある " a suspension of teleology, resolution, and heroic subjectivity.（目的論、決意、そして英雄的な主観性の停止。）" は収録された作品の見方、感じ方を近い将来180°変えてしまう事でしょう。その精神はHammer of Justiceによって早急に物事を結論づけようと息巻くのではなく、あらゆる可能性を予期して保留しつつ、現世の様々な事象をより深く考察しようとする新世代のintegrityに通じていますからね！

Recently, the heroic image of Johannes Brahms has been cast into doubt. This is not a sign of his declining authority, but rather a salvation that calls for his courageous liberation from the role that Robert Schumann had entrusted him with through the "Neue Bahnen." He is no longer seen as a successor to Beethoven, wearing a jacket, but as a "free man" who left behind beautiful music on a different level. Igor Levit is a master who can draw true strength from our weaknesses and secrets, a far cry from a Herculean attitude. In this respect, the two are magnetically attracted to each other... First of all, the collection of short pieces deserves unreserved praise. The intellectual state of mind that the composer reached in his later years perfectly matches the character of this pianist...it seems that he himself was deeply moved...When one hears the narrative style in Op. 117, No. 2, Op. 118, No. 2, and Op. 119, No. 1, which is reminiscent of a line from Zhuangzi, "Man could not look at flowing water, but at still water," one cannot help but acknowledge the delightful harmony between the two. Christian Thielemann's imposing physique often suggests he will deliver a truly profound, orthodox performance. However, his true talent may lie in his qualities as a coordinator, demonstrated through his attentive listening to his tie-up soloists. This work deliberately avoids pandering to 19th-century dramaturgy, and the Wiener Philharmoniker's restrained, controlled quietness exudes a sympathetic sympathy for the immersive aesthetic of the "keyboard analyst," who derived his musical epoché in connection with Edmund Husserl's phenomenological approach. Reviews have been sharply divided. While many of the controversial responses have focused on the orchestra's lack of romanticism, it's important to read between the lines before accusing them of war crimes. Behaving like Jochum against Gilels would not align with Levit's profiling. So, what are the core values ​​embedded in these two concertos? This suggests a renewed possibility for interpretation. Rather than recreating the glories of the past, it raises the question of whether a more tranquil and austere Brahms might be possible. The courageous proposal of "a suspension of teleology, resolution, and heroic subjectivity" is sure to completely change the way we view and feel the works included in this collection. This spirit is in line with the integrity of a new generation that seeks to consider various worldly phenomena more deeply, anticipating and reserving all possibilities, rather than rushing to reach a hasty conclusion with the Hammer of Justice!