シューベルト・リヴィジテッド

歌曲の絶妙なオーケストラ編曲でたどり着いた"ピュアなシューベルト"

今最も注目されるシューベルト歌手の一人、マティアス・ゲルネが、オリジナル版のピアノ伴奏ではなく、長年ゲルネの伴奏者を務めているアレクサンダー・シュマルツによるオーケストラ編曲でシューベルトの歌曲を録音しました。
ゲルネはシュマルツの編曲について、「これらの歌曲のオーケストラ編曲に見られる彼の創造力は計り知れない。文体上の感性と適切な楽器を適切な時に配置する繊細な取り組みはまさに驚くばかり」と語っています。そしてシュマルツはこのアルバムで"ピュアなシューベルト"を聴くことができると言います。「私は何も加えていません―私の目標はできるだけオリジナルと同じであることなのです」。
ユニバーサル・ミュージック/IMS

The 19th century was full of transcriptions of orchestral works for smaller media, with audiences likely hearing chamber arrangements of symphonies more often than the originals. Transcriptions of voice-and-piano songs for orchestra, however, might well have seemed odd to listeners of that time, for there was no reason to replace the original forces with a more expensive and difficult-to-assemble setting. Here, baritone Matthias Goerne, arguably the king of the current Schubert scene, offers 19 Schubert songs, mostly quite familiar ones, in orchestral arrangements by pianist Alexander Schmalcz, and listeners reactions may well depend on whether they find value in the exercise or evaluate it as a way for Goerne to line up lucrative orchestral-concert paychecks. Schmalcz is circumspect in his approach, not going beyond the notes that are in the songs and departing from simple string and wind textures only in songs that seem to call for a more dramatic approach. Sample Erlkonig, D. 328, to hear one of those departures. Is the song improved by having the strings saw away in the ominous repeated notes of the piano accompaniment? That is for listeners to decide for themselves, but there is no question about Goernes voice; it is in fine form, its burnished tone in Schubert fully intact, and he manages this vocal control while contributing to the direction of the Kammerphilharmonie Bremen. It is a virtuoso performance, and it may well bring more Goerne orchestral Schubert performances in the future. ~ James Manheim