チャイコフスキー:交響曲第6番「悲愴」＜限定生産盤＞

ゲルギエフの「悲愴」
LPで登場!

ゲルギエフとマリインスキー管弦楽団の「悲愴」という鉄板中の鉄板アイテムがLPで登場!MARIINSKYレーベルのLPはこれまでにもいくつかリリースされ、どれも高いクオリティで評判だっただけに、期待が高まります。限定生産となっておりますのでお早めにお買い求めください。

ゲルギエフの指揮するチャイコフスキーの交響曲といえば、ウィーン・フィルとの共演盤が知られていますが、それから10数年を経て円熟のゲルギエフが再録音に臨んだ録音。それも手兵マリインスキー劇場管を率いているとあって、話題となりました。

ゲルギエフは極めて正攻法から勝負。奇をてらったり、これ見よがしなところは少なく、あくまでも壮大かつ緊張感あふれる「悲愴」像をつくりあげています。ライヴならではの一発勝負的な潔さもある感動的名演で、同曲の指折りの名盤のひとつの登場となります。

演奏は、2011年10月にリリースされたブルーレイ(KKC 9038/MAR 0515)とDVD(KKC 9039/MAR 0513)に収録されていたもの、さらにそのCD盤(MAR 0019)と同じです。
キングインターナショナル

There are countless versions of Tchaikovsky's Symphony No. 6 in B minor, Op. 74 ("Pathetique"), including several by conductor Valery Gergiev, who seems to keep worrying about the work. This one is a live performance from 2010 recorded in Paris, but not released until 2019 in the growing catalog of the Mariinsky Orchestra's own label. It has to be very near the top of the heap. Sometimes it has been stated that Gergiev's Tchaikovsky features fast tempos, and that's telling; in fact, this "Pathetique" is on the slow side. Gergiev takes more than 21 minutes for the opening movement, far less than Yannick Nezet-Seguin or Thomas Dausgaard or the fearsome Teodor Currentzis. The thing is, it feels fast. This is because Gergiev, quite remarkably, strikes a tone of deep anxiety right at the beginning of the work and sustains it until the final murk of despair. In so doing, he forges quite an original approach that stripes the second-movement "Allegro con grazia" of its sugar-plum-like grace and even the third movement of its martial energy. This third movement, "Allegro molto vivace," will still draw applause in Gergiev's version (although none is retained on the recording), for he broadens the tempo a bit for a slam-bang conclusion. But all this does is deepen the impact of the finale, which attempts a hard-won calm around four minutes in, and then, in steps masterfully controlled by Gergiev, falls back into the pit. The symphony is, in Gergiev's hands perhaps more than in those of any other conductor, the work of a composer who would be dead a week and a half after its premiere, and this is, in the end, a profoundly moving recording.