1998年、イスラエルの学校で学ぶ学生たちによって結成されたアリエル四重奏団。彼らは10代からコンサート活動を開始し、2003年の「フランツ・シューベルトと現代音楽コンクール」で最優秀賞を受賞。本格的なキャリアがスタートしました。結成27年を迎えた今も、創設メンバー3名が在籍し、定番レパートリーに新たな息を吹き込みながら、現代音楽の普及にも貢献。ベートーヴェンの全曲演奏を若くして成し遂げ、著名作曲家からの委嘱作品を手掛けてきました。そんなアリエル四重奏団が、2028年の創立30周年に向けてベートーヴェンの弦楽四重奏曲全集録音に取り組みます。第1集はOp.18の四重奏曲6作を収録。多くの演奏家たちが手掛けてきたこの作品を、彼らは徹底的に研究した上で、さらに直感的なアプローチを大切にし、技術的な精度を加え演奏しています。
ナクソス・ジャパン
発売・販売元 提供資料(2025/03/24)
The market might not seem primed for a new recording of Beethovens string quartets, but the Ariel Quartet has been attracting audiences since performing the complete cycle in New York in 2015, and indeed since the group got together as teenagers in Israel. This is the first release in an upcoming cycle recorded at the Cincinnati College-Conservatory of Music, and the groups experience with the music is evident. The quartet in its notes recommends Joseph Kermans book-The Beethoven Quartets for listeners approaching the music, and this gives an idea of what the recordings here are like. The players promise "a new approach both in interpretation and sound," and on a casual listen that may not be so apparent; the tempos are on the fast side, but theres nothing that breaks the mold, and theres little imprint from the historical performance movement. But listen again, and the deep analysis of the Kerman sort shows up in the playing. The Ariel mentions the sound contributed by producer Jesse Lewis and his engineering team. It might have been nice to hear more about this, but it seems to have involved some miking quite close to the group. And this is the key to the Ariels approach. The players, and the engineers, are willing to submerge the first violin line temporarily (and violinists Alexandra Kasovsky and Gershon Gerchikov have plenty of experience switching roles, which stands them in good stead here) to reveal the depth of the counterpoint Beethoven packed into the outer movements. Sample those of the String Quartet No. 4 in C minor, Op. 18, No. 4, where the drama of Beethovens growing seriousness is stressed not by laying too much emphasis on the minor key but by the intense activities of the four parts. The players in this group have often played sitting in a circle, and by now they have mastered close interaction over long stretches of music. One awaits the further volumes in their series with great interest. ~ James Manheim
Rovi