ショスタコーヴィチ: ヴァイオリン協奏曲集＜限定盤＞

ハイペリオン『Vinyl Edition』第4弾 初LP化5タイトル 180g重量盤

2021年グラモフォン賞を受賞し、同誌で「瞬きもせずに聴き手の目を見つめ、ありのままを語るような演奏」と評されたアリーナ・イブラギモヴァによるショスタコーヴィチのヴァイオリン協奏曲。共演はウラディーミル・ユロフスキ指揮のスヴェトラーノフ記念ロシア国立交響楽団。ショスタコーヴィチ愛好家にとって、滅多に演奏されることのないヴァイオリン協奏曲第1番のオリジナル版での第4楽章冒頭を聴く絶好の機会となるでしょう。LP2枚組。
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.