ショスタコーヴィチ: ヴァイオリン協奏曲集

ヴァイオリンのために書かれた最も重要な協奏曲2曲におけるアリーナ・イブラギモヴァの存在感は期待以上の結果です。そしてショスタコーヴィチの愛好家にとっては、第1番の最終楽章で、作品の献呈者であったダヴィッド・オイストラフの求めに応じて独奏者にとっての"恐ろしさ"が軽減される前の、原典版での冒頭部分を聴くことができるという貴重な機会もうれしいでしょう。
ユニバーサル・ミュージック/IMS

Violinist David Oistrakh, for whom both these works were composed, called the Violin Concerto No. 1 in A minor, Op. 77, Shakespearean, and imbued the work with a theatrical mixture of brilliance and inwardness. The latter is missing from this reading by violinist Alina Ibragimova and conductor Vladimir Jurowski, leading the cumbersomely named State Academic Symphony of Russia Evgeny Svetlanov, but Shostakovich called the work a symphony for violin and orchestra, and not only because it has four movements: it is an exquisite, turn-on-a-dime essay in soloist-orchestral balance that features one of the most difficult solo parts in the repertory (remarkable, in view of the fact that Shostakovich did not play the violin). Here Ibragimova is on solid ground, and her performance is a technical marvel. If the composers precarious state of mind under Stalinist repression does not come through, the clean, jewel-like craftsmanship of the work does. Ibragimova challenges herself even further by playing the opening theme of the finale as a solo, which Oistrakh rejected as too difficult. Ibragimova is likewise solid in the later Violin Concerto No. 2 in C sharp minor, Op. 129, one of those late Shostakovich works in which he seems to be swinging for the Beethovenian fences in the heavily polyphonic first movement. She does not miss the humor, also Beethovenian, at the beginning of the finale. Listeners expecting another Oistrakh may be disappointed, and returning to a Russian orchestra does not seem to have produced a more melancholy aesthetic in Jurowskis music-making, but heard on its own terms, the album is a total success.

鶴首して待ったイブラギモヴァのショスタコーヴィチは、故国の歴史を切り抜けた傑作についに正面から対峙した力作。不滅の「故事」というべき初演者オイストラフの事績を相対化する現在的演奏の有力盤として強力な一枚だ。2曲ともに一貫する分かちがたい彼女の流儀を共有することができる。オケにも強く深い内的表現が求められるが、ユロフスキ率いるロシア国立響の一体感も素晴らしい。ショスタコーヴィチ音楽の要諦が内蔵された偉大なる第1番、特に第3楽章パッサカリアでの濃密な沈潜と緊迫の際限への表現に全霊を投じる演奏家の追究の姿は圧倒的であり、カデンツァで聴く彼女の発語の一切を逃さず傾聴したい。
intoxicate (C)森山慶方