夕映えの中で

現代最高のバリトン歌手ゲルネがDGの才能あふれる若きピアニストと進めるドイツ・リート録音第2弾!

現代最高のバリトン歌手の一人で、シュヴァルツコップとフィッシャー=ディースカウというドイツ・リートの双璧の遺伝子を継ぐドイツ・リートの第一人者といえるマティアス・ゲルネ。円熟を迎えた彼が、キャリアの総決算としてドイツ・グラモフォンの才能あふれる若きピアニストとのコラボレーションでドイツ・リートを録音する画期的なシリーズ第2弾。前作はピアニストにヤン・リシエツキが抜擢され、生誕250年を祝うベートーヴェンの作品をリリースして大きな反響を呼びました。今作はチョ・ソンジンとのコラボレーションで、ワーグナー、プフィッツナー、リヒャルト・シュトラウスの後期ロマン派歌曲を収録し、聴き手の心の奥深くに響く歌唱を聴かせます。
ユニバーサル・ミュージック/IMS

There are subtleties to note in this album of lieder by baritone Matthias Goerne. Theres the substantial presence of Hans Pfitzner, for example, not usually mentioned in the same breath as Wagner and Richard Strauss but represented here by some exceptionally lovely songs, including an Abendrot (not the same text as the more famous Strauss Im Abendrot from the Four Last Songs that closes the show in smashing fashion). Its a testimony to how notions like progressive and conservative tend to fall away as a tradition is examined more deeply. Pfitzner was a conservative who answered proponents of new styles with the contention that perhaps music had already reached its high point, but his Abendrot is harmonically (although not structurally) more complex than that of Strauss, and in general, his music fits right in with the rest of the program. For another interesting point, its notable that Goerne seems to be making an effort to seek out rising young accompanists rather than continuing with established partners; first, there was Jan Lisiecki, and this time its Chopin Piano Competition winner Seong-Jin Cho, who delivers distinctively muscular readings. Ultimately this album is about one thing, namely, that Goernes voice has reached an absolute peak and that the repertory here displays it at its absolute best. Pick your adjective: its rich, its burnished, its philosophical, its quietly shining with a lifetime of experience. Whatever your choice, this is a lieder album to treasure.