ベートーヴェン: ピアノ協奏曲第3番、ミサ曲ハ長調

MTT&SFSのベートーヴェン!
ピアノ協奏曲第3番&ミサ曲ハ長調!
日本語曲目表記オビ付き

ベートーヴェンの「ピアノ協奏曲第4番」(SFS0037)に続く、マイケル・ティルソン・トーマス(MTT)&サンフランシスコ交響楽団(SFS)とエマニュエル・アックスのコラボレーション第2弾は、「ピアノ協奏曲第3番」!
東京エムプラス

The San Francisco Symphony Orchestra under longtime conductor Michael Tilson Thomas has, between 1990 and 2015, arguably offered the most innovative programming of any major American urban orchestra. Thus this purely standard-repertory Beethoven program comes as something of a novelty, and it's a pleasure to report that the high standards of these forces are fully maintained here. Perhaps the main attraction comes first: the Piano Concerto No. 3, Op. 37, is a marvelously controlled performance that stays entirely within the dynamic world of the late Classical period, but keeps the lushness of the modern orchestra and piano. Pianist Emanuel Ax has never been more precise, strongly defining the soloist's entrance within the narrow parameters laid down by Tilson Thomas. In its quiet way, it's a virtuoso performance. The Mass in C major, Op. 86, is not quite as original in conception, but it's a very strong performance of this somewhat underrated work that, at least as much as the late Missa Solemnis, Op. 123, exemplifies Beethoven's personal attitude toward religious faith. Tilson Thomas and the San Francisco Symphony Chorus catch the moments at which Beethoven's characteristic ecstasy breaks through the formal structure of the Mass. The choir gets a warm sound that's the equal of any big public chorus's, and really the only complaint here is that in the recording, Davies Hall (a difficult venue, to be sure) somewhat swallows up the fine solo group, especially the rich-voiced single-named bass-baritone Shenyang. A distinctive and very strong live Beethoven release.