メンデルスゾーン&チャイコフスキー: ヴァイオリン協奏曲

シュタインバッハーの決定的名盤、
メンデルスゾーン&チャイコフスキーのアルバムが
CDフォーマットで再発売!

世界的ヴァイオリニスト、アラベラ・美歩・シュタインバッハーの名盤の中でも特に高い評価を得ているメンデルスゾーン、チャイコフスキーのアルバムがCDフォーマットで再発売いたします!

メンデルスゾーンは一貫して落ち着いたテンポで一音一音雄弁に歌い上げます。カデンツァでは美しさと力強さを兼ね備えた演奏を披露。第2楽章では女王の風格を感じる語り口で一度聴いたら忘れがたき熱演を繰り広げます。そして第3楽章はオーケストラとの対話も見事でデュトワとの相性のよさもさることながら、歯切れのよいメロディが立体的に聴こえる快演を聴かせてくれます。

一方、チャイコフスキーは朗々と歌い上げ、テンポのコントロールや豊かな音楽表情など、シュタインバッハーでしか表現できない世界が広がります。
キングインターナショナル

These are among the most familiar pieces in the entire violin-and-orchestra repertory, and German violinist Arabella Steinbacher even admits in the notes that she had no particular desire to record them. What convinced her, she says, was the chance to work with conductor Charles Dutoit, here leading the Orchestre de la Suisse Romande, and indeed the reading they produce is an unusually collaborative one. And, as it happens, that of the Mendelssohn Violin Concerto in E minor, Op. 64, is a real winner. It's clear from the beginning, with Steinbacher's unusually gentle, liquid tone on her loaner 1716 Stradivarius matched by a deliberate pace and quiet space from the orchestra. Listeners will become deeply convinced in the slow movement, one of the most rhapsodically beautiful readings ever put on recordings. Throughout there are small details of expression that no one else has hit on. The Tchaikovsky concerto is not quite as memorable; Steinbacher is less connected to Tchaikovsky's heated inwardness than to Mendelssohn's delicacy. But there is still elegant and graceful playing in abundance. PentaTone's sound, recorded at Victoria Hall, is superbly matched to the intentions of the performance.