シューマン: ヴァイオリンのための作品集

名手コーリャ・ブラッハーが弾き振り!シューマンのヴァイオリン協奏曲!

マーラー室内管弦楽団と豪華共演のヴァイオリン協奏曲!
コーリャ・ブラッハーの至芸を隅々まで堪能できるワシーリー・ロバノフとの室内楽!

ジュリアード音楽院で名教師ドロシー・ディレイに師事した後、シャーンドル・ヴェーグの元で研鑽を積み、1993年には史上最年少でベルリン・フィルハーモニー管弦楽団のコンサートマスターに就任。1999年に同団を退団後はソリストに転身し、世界各地で活躍を続けているドイツの名ヴァイオリニスト、コーリャ・ブラッハー。
そのコーリャ・ブラッハーがシューマンの《ヴァイオリン協奏曲》を弾き振り!オーケストラは、クラウディオ・アバドが創設した名手揃いで知られるマーラー室内管弦楽団です。シューマンの遺作とされ、80年もの間陽の目を見ずに埋もれていたなどエピソードに事欠かないこの作品を、見事なアンサンブルで聴かせます。オーケストラを導きつつも、巧みなヴァイオリンを聴かせる圧巻の演奏となっています。
《ヴァイオリン・ソナタ第1番》と、シューマンの室内楽曲の中でも名曲のひとつとされる《3つのロマンス》では、たびたび共演しているワシーリー・ロバノフをピアノに迎え、名手コーリャ・ブラッハーが思慮深い演奏を披露しています。
東京エムプラス

The combination of a talented violinist, an equally talented orchestra, and very suitable repertoire performed on a Stradivarius add up to an album that is a classy, enjoyable listening experience. Kolja Blacher plays Robert Schumann with the Mahler Chamber Orchestra under the direction of Vassily Lobanov on this CD of understated good taste. The violin concertos introduction is dark and active, with echoes of Beethoven, but then it turns smooth as Blachers full, powerful violin enters. Even his piano dynamics maintain a solid sound, and yet this fullness is still expressive and romantic. The repertoire is well chosen for Blacher, though one senses he could push the envelope with more emotion. In the second movement, he plays with a lighter bow touch, yet there is always a beautiful, flowing legato that makes the music sing. The orchestra is an excellent complement to his understated elegance. The rapid runs, slurs, and athletic playing make Blacher a joy to hear, even if it is not the most exciting of Schumanns compositions. The Violin Sonata No. 1 in A minor is different in character. One can hear the violins yearning from the beginning, accompanied by a pianist who is Blachers equal; Vassily Lobanovs style is full, confident, and majestic. Blacher plumbs the depths of the strong, dark register, and yet he sings and soars in the higher register. The middle movement is brief and lively, with levity to it, but the most exciting part is the passionate third movement. The good recording quality makes the bow attacks and strokes very clearly audible: one can hear Blachers tremendous bow control. Blacher gives the music his all. In sum, it is a great example of chamber music. The Three Romances for violin and piano are indeed romantic, and yet interpreted with a subdued quality that is not over-the-top. Blacher keeps supple tension in the lines, and there is a certain sadness that pervades the music now and then. This, too, is not Schumanns most dramatic music, but Blacher is a wonderfully tasteful violinist with excellent technique. He has also chosen worthy musicians to accompany him on this Schumann journey.