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2023年6月3日投稿
Ysaÿe: 6 Sonatas for Violin Solo, Op. 27 / Sonata No. 2 in A Minor – I. Obsession. Prèlude
Hilary Hahn
7月14日の発売が楽しみ。買いますよ、絶対に。
ヒラリーさんらしくメリハリがはっきりした演奏で、聴き応え満点。
6月7日コメント：
T・S：面白い演奏家を教えてくだすってありがとうごぞいます。イザイは僕にはわからないなー。シャコンヌを聴きましたがしっとりと素敵な演奏、気に入りました。
ユーリ：S様、ありがとうございます。シャコンヌ、本当に素晴らしいですね。25年ぐらい前、千住真理子さんがNHKテレビで、イザイ弾きと呼ばれたい、等と放言され、実際の演奏では顰蹙を買っていました。CDでも、よく発売したな、という出来栄え。あの頃から、日本人のクラシック耳は随分肥えた、と思います。
T・S：Apple Musicで発売前のアルバムの一曲が聴けたのですが、イザイは難しいです〜 弾くのもでしょうが、聴くのも（笑）
ユーリ：慣れないうちは、そうかもしれませんね？私のイザイとの出会いは、25年前の千住さんでした。何だか難しそうに弾いているのに、言葉だけは美しく飾っていて、酷い経験でした。千住さん、無理しなくてもよかったのに、です。あの頃から、NHKは劣化が始まっていました。
（2023年6月7日転載終）
。。。。。。。
1998年12月の神戸での千住真理子さんの「イザイ・リサイタル」を一人で聴きに行ったことは、今でも記憶に鮮明だ。
その2ヶ月ぐらい前、まだ30代だった主人が若年性パーキンソン病の診断を下されて、物凄く落ち込んでいた頃だった。
「左手くんが動きにくい」と言い出し、あちこちの病院で調べてもらっても「疲れじゃないか？」「パーキンソンなら両方から始まる」等と、誤診に次ぐ誤診で、たらい回しされていた挙句のことだった。
結婚後一年という時期だったため、相当にショックだったのは私も同じだった。だが、進行性ならば時間を無駄にはできない、と思い、ひたすら気分転換を図る気持ちで、その頃NHKテレビに頻繁に出演されていた千住真理子さんの話をして、何とか気晴らしをするよう努めていた。
あまり意味がなかったかもしれないが、そうでもしなければ、二人で病気と仕事のことだけで視野狭窄になり、精神的にもよろしくなかったと思う。無理やりにでも気持ちを引き立てる上では、私が好きなクラシック音楽が効果的なのでは、という自然な流れになり、そのうちに何と、神戸の演奏会を見つけた主人が、いつの間にか「チケットぴあ」に電話して、チケット一枚を購入してくれたのだった。
5歳から23歳まで音楽学校に通ってピアノを習っていた私よりも、1990年代初期の2年間、留学先のボストンで超一流の生のクラシック音楽に触れていた主人の方が、不思議なことにチケット購入は堂々としていた。「千住真理子、イザイ・リサイタル、一枚」と、余裕しゃくしゃくで注文していた。
その千住さんが、「難しい曲だからイザイを弾くのではないんです。イザイが好きだから弾くんです」とか何とか、テレビでわけのわからない発言をしていたのが腑に落ちず、思わず、N響の第二ヴァイオリニストの根津昭義先生にメールで問い合わせをした。
根津先生のお返事は、「そんな寝ぼけた発言を公共の電波で許す放送局も、かなり問題ありです」と同意され、「誰のことかはわかりませんが、大体、わかります」とのこと。「これ以上書くと、自分に返ってきますので」と、用心深い慎重な回答で〆となった。
その後、神戸の演奏会に出かけたところ、無伴奏なので一人舞台だったが、途中で弦が切れて止まってしまい、何とも不完全燃焼の演奏会となった。
それからは、一度も千住さんの演奏会に行ったことはない。これが生演奏の恐ろしいところだが、プロの演奏家ならば、第一印象で全部が決まってしまうことは、仕方のないことだ。
何とも弾きにくそうな演奏ぶりで、はっきり言えば、力量と合っていなかった。記念に買ったCDを聴いただけでも、何を伝えたいのかわからない弾き方だ。難曲だということはわかるが、もっと弾き込み、自分の手の内に入ってから録音して（修正を加えて）販売するものではないだろうか？と言いたくもなる。
それからしばらくして、名前は失念したが、欧州の著名な演奏家のイザイをラジオか何かで聴く機会があり、初めて（こういう曲なのか）（こういうテンポで弾くのか）と納得がいった。
教訓：パンフレットやプログラムを見て、直観的に（聴きたい！）と本心で思った演奏会には、決してチケット代をケチらず、時間をこじ開けてでも聴ける時には聴いた方がよい。感じたままを素直に記憶に留め、その感動を繋げていく経験が人生では大切だ。人気の有無ではなく、仮に自分にとって多少背伸びすることになったとしても、本当に一流の演奏家に触れることは、絶対に必要だ。
（2023年6月7日記）
。。。。。。。。
久しぶりに千住さんの話題が出たので、千住さんに関する引用の過去ブログ一覧を。
（https://itunalily.hatenablog.com/entry/20070925）
（https://itunalily.hatenablog.com/entry/20071012）
（https://itunalily.hatenablog.com/entry/20080923）
《クレーメル氏をこの目で拝見できて、実に忘れがたい日です。と思ったら、二回のカーテンコールの後でアンコール。イザイの無伴奏ヴァイオリン・ソナタOp.27より第5番ト長調。3分ぐらいの、これも枯淡の域に達した演奏でした。こちらは、ピチカートの多い初めて聴く曲。（後注：実は、自宅にある千住真理子さんのCDに入っていました。でも、申し訳ないけれど、10年ぐらい前の千住さん、「イザイ弾きと呼ばれたい」と書いていた割には、リサイタルではミスの多い演奏だったんですもん。それ以来、ラジオを除いてイザイを聴かなくなってしまいました。）
（https://itunalily.hatenablog.com/entry/20130211）
（https://itunalily.hatenablog.com/entry/20131007）
（https://itunalily.hatenablog.com/entry/20150225）
（https://itunalily.hatenablog.com/entry/20181218）
（2023年6月7日記）
…………….
2023年6月10日追記：
（https://twitter.com/ituna4011/status/1667265575041798144）
Lily2@ituna4011
早速出ました。楽しみです！ ところで、先日の西宮でのホールにおける7年ぶりの生演奏、今も耳に木霊しています。
5:21 AM · Jun 10, 2023
（2023年6月10日転載）
…………
2023年7月14日追記：
今日発売予定のイザイのCD、早速注文しました！
英語の興味深いインタビューを以下に転載いたします。
（https://www.violinist.com/blog/laurie/20237/29684/?fbclid=IwAR2KKYqv49Xxq93qjMxTMqd8cMfi4T-vBHuWvX9aX-gcypoSnfmkYhwO8w4）
Laurie Niles
Interview with Hilary Hahn: 100 Years of the Ysaÿe Sonatas
10 July 2023
Violin-playing today owes a lot to one important man of yesterday: Eugène Ysaÿe – who lived from 1858 to 1931.
For one, he wrote the Six Sonatas for solo violin – beautiful and groundbreaking pieces that follow in the footsteps of Bach’s Sonatas and Partitas. But also, there is the direct teaching lineage that so many people can claim to Ysaÿe, who taught Joseph Gingold, William Primrose, Matthieu Crickboom, Oscar Shumsky, Nathan Milstein, Jascha Brodsky and Louis Persinger, among others. Ysaÿe’s pedagogy is connected to anyone whose teachers descend from that line, and there are a great many. (Even I can make the connection – several of my teachers were proteges of Gingold.)
Hilary Hahn has always treasured the direct musical lineage she had through her teacher at the Curtis Institute. When she realized last October that the Six Sonatas were coming up for their 100th anniversary in 2023, she felt a sudden compulsion to do something about it.
“These pieces are iconic, generation-defining, and a beautiful celebration of the instrument. Could I find some way to mark their centenary?” she said. “My concert schedule was completely full. There was one other possibility, but it would be a massive undertaking: recording this opus.”
That’s how Hilary came to record the entire set in a creative whirlwind that lasted for the next seven weeks – recording them in chronological order, in between concert tours. That recording, Eugène Ysaÿe’s Six Sonatas for Violin Solo, Op. 27, officially will be released this Friday.
Last month I spoke with Hilary about this breathtaking project, her connection to Ysaÿe, and Ysaÿe’s connection to all violinists.
“I’ve always put a lot of value in being ‘one-generation-removed’ from a man who was born in the 1850s and was hugely influential,” Hilary said, “I take great pride in being a ‘musical grandchild’ of Ysaÿe.”
That said, when it comes to the Sonatas, the influence a little more indirect – Hilary did not study them all with her teacher. “I taught myself all of them, except for number six,” she said. “Number six, I learned while I was still a student; the rest I taught myself after graduating. So it’s music that is in my soul, in my musical DNA, but I don’t have particular pedagogical stories about it.”
When it comes to repertoire for violinists, the Ysaÿe Sonatas are a solid part of the canon. “You learn the Bach as a younger student, and then you add the Ysaÿe for some variety, to learn some slightly different techniques,” Hilary said.
It is clear that Ysaÿe was inspired by Bach’s Sonatas and Partitas. “The seed of the project for him came from a performance by (Joseph) Szigeti, who was playing Bach,” Hilary said. “I don’t think Ysaÿe intended for it to be the series of six it became – he probably discovered more ideas and just kept writing.”
The sheer audacity of Ysaÿe’s Six Sonatas is part of its charm and challenge. Not everyone would take on the task of writing a follow-up to Bach’s works for solo violin, but “Ysaÿe heard his colleague playing Bach and thought, ‘Hmmm, this could use an update, let me modernize this. How about six-note chords on a four stringed instrument?'” Hilary laughed, “And he did it!
A composer who wasn’t violinist – or who wasn’t a violinist at Ysaÿe’s proficiency level – simply would not have been able to find the possibilities that Ysaÿe did. “In these pieces there is an informality and also an exuberance,” Hilary said. “The way he writes through the expressive freedoms – it’s from a very deep knowledge of the instrument. Where other composers hit a roadblock, he sees a path. Or he just bursts right through the wall – as if saying, ‘Oh, this is not made of brick, this is made of Styrofoam!'”
“So it’s this niche, but super-important set of pieces for a violinist,” she said.
Ysaÿe also wrote the Sonatas with particular violinists in mind – dedicating each one of them to a violinist who was his contemporary. Of course, he dedicated the first to Joseph Szigeti, who inspired the entire project. Then he dedicated the second to Jacques Thibaud, third to George Enescu, fourth to Fritz Kreisler, fifth to Mathieu Crickboom and sixth to Manuel Quiroga.
“You have a lot of inner messages in these pieces, from Ysaÿe to the dedicatee,” Hilary said. “You just sense that there are stories being told, and references – to parties they were at together, or some conversation, or a concert Ysaÿe went to. The closer the dedicatee and composer were, the more personalized and sort of hidden-message-y the piece ended up being. I was really interested in all of those dynamics.”
For Hilary, this recording project generated a series of revelations – about connections to Bach, or to Ysaÿe’s dedicatees, or to other aspects of the music – which deepened her personal relationship with this music.
“The first revelation for me was in the first Sonata,” she said. “I realized that the more I played it like Bach, but like ‘organ Bach’ (she laughs), the more it worked. It’s a little choppy if you play it like ‘violin Bach,'” Hilary said. “But if you look at the (first-movement) Grave as something you might hear in a meander-y organ improvisation, with some powerful jolts,” then it works. Making that connection to Bach’s organ music gave her a perspective on “how Ysaÿe takes an influence and distills it,” and that served as a basis for connecting to the rest of the sonatas. The Fugato in the first sonata “is very much a combination of references to the three Bach fugues in the Sonatas and Partitas, and to Bach’s organ music.”
“I love Sonata No. 2 for so many reasons,” Hilary said. Sonata 2, called “Obsession,” begins with a quote from the Preludio from Bach’s Partita No. 3. “So there’s clearly the Bach reference, but I also love the idea that it’s a reflection of how Thibaud (its dedicatee) practiced,” she said. “He would just practice these little blips – he would play a little bit of this, a little bit of that… And Ysaÿe knew this, and so he wrote that first movement as such.”
“And then in many places, Ysaÿe is juxtaposing different messaging,” Hilary said. “There is the Dies irae in the second Sonata, and that whole Sonata is connected to Bach as well.” The Dies irae is musical sequence that relates to the Day of Wrath, from the Catholic Requiem Mass. But “it’s also a mood cue in a lot of repertoire from around (Ysaÿe’s) era,” she said.
Of course, Bach was deeply religious and served the Lutheran church for most of his professional musical life. “There are elements of Bach chorales in that Sonata that are hymns – the old Lutheran hymns,” she said. Hilary grew up going to the Lutheran church, singing from the old hymnal, and as she was recording, she kept associating the music with a certain hymn. “I wouldn’t want to say for sure that it is that hymn, but for me, the message in that hymn is the total opposite of the message of the Dies irae, and it’s immediately juxtaposed inside this sonata,” she said. “For me, that was a moment of feeling even more at home in the music, like there are insights that I can also access that are personal to me, even though the music wasn’t dedicated to me. That was a beautiful realization: that I had some insight that I didn’t even know lived in me. And I don’t know if it’s an insight into Ysaÿe or just an insight into my relationship with the piece.”
Sonata No. 3 has a little insider message as well. “Enescu’s Third Sonata is the biggest piece by Enescu that you’re likely to play if you’re a violinist – and this is Sonata ‘No. 3,’ of Ysaÿe’s, dedicated to Enescu! It has that sort of same flair and style that you feel when you really get comfortable with Enescu’s writing. So Ysaÿe is just playing with all these inside references.”
But Hilary’s biggest moment of realization came when recording Sonata No. 5, “L’Aurore,” dedicated to Crickboom. It brought her back to a project she did a number of years ago – working with composer Antón García Abril. He wrote her Six Partitas for Solo Violin, which she recorded and released in 2019. “When I was recording Ysaÿe’s Number Five, it felt like everything I’ve learned was coming together, because the García Abril Partitas feel similar to what Number Five feels like.” she said. “The opening of Number Five is pushy and laid back at the same time, and it’s sporadic but also directional, and that’s very much what the García Abril Partitas feel like.”
Those insights held, as she went on to record Ysaÿe’s Sonata No. 6, dedicated to the Spanish violinist Manuel Quiroga.
“When we got to Number Six, I felt like, ‘Oh, I know these rhythms so much better now than I did, back when I first learned this piece’ – because Anton taught me the Spanish rhythms,” she said. The sixth Sonata quotes Spanish folk rhythms – “the same rhythms that Antón was so proud of in his heritage,” she said. “Antón taught me things he didn’t even know he was teaching me, in his sense of rhythm that he was developing, things that I later recognized in the Sixth (Ysaÿe) Sonata.” All those things together helped her develop her own new relationship to that piece, which is the first Ysaÿe Sonata she had ever learned.
“Ysaÿe was living during very pivotal time,” Hilary said. These sonatas were written right before a historical period that brought about music that sounds to us, even today, very radical. “A lot of the composers in his time were experimenting with form, experimenting with where tonality could go, questioning what the role of an individual instrument could be.” And for his part, Bach was also ahead of his time – “Things that he did in the Sonatas and Partitas are more experimental than I’ve seen from many composers today,” Hilary said.
Many of the things we take for granted today when it comes to technical options on the violin, “were still being experimented on and developed as Ysaÿe was growing up,” she said. He lived at a moment when recordings started connecting musicians. Cars were just being invented – now people were starting to have more access to each other. All of the things that kept people apart were becoming less of a barrier.
“Ysaÿe was in the eye of the storm,” Hilary said. “All these ideas were swirling around, and he was somehow in the middle – sort of a hub. If you think about a wheel, there are all these spokes – and he was the hub for so many things that were both past and future.”
“I discovered so much about the pieces that made me fall in love with them all over again – but in a different way,” she said. Recording them “made me understand my own sense of expressiveness even better.”
（End）
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2023年7月15日追記：
（https://www.facebook.com/ikuko.tsunashima）
2023年7月15日投稿
悪いけど、千住真理子さんとは比較にならない。千住さん、「イザイ弾きと呼ばれたい」なんて、言わない方がよかったのでは？
それに、「シゲティとティボーが憧れで、（死ぬまで）追いかけて終わりたい」とも記録に残る公共の場でおっしゃっていました。あまりそういうことを公言しない方がよかったのではないか、と今でも思います。
ヒラリーさんが奏でると、全く違う曲のように聞こえます。パワフルで、リズム感もアップされ、細かい音もよく響いています。
千住さんが神戸のホールで演奏した1998年12月、「何だか止まりそうな難しそうな曲だなぁ」とハラハラさせられたのですが、本当に弓の糸が指に引っかかって止まってしまいました。
あれ以来、千住さんの演奏は一度も聴いていません。プロの演奏家とは、本当に厳しいものです。
ヒラリーさんのCD、約束通り発売日に注文しました。とっても楽しみにしています！
（2023年7月15日転載終）
。。。。。。。。。
（https://www.npr.org/sections/now-playing/2023/07/14/1187533061/hilary-hahn-sonata-no-3-ballade）
Hilary Hahn, ‘Sonata No. 3, Ballade’
The intrepid violinist undertakes some of the most challenging solo violin music
14 July 2023
by Tom Huizenga
In the classical violin world, there are three great mountains to climb for the solo fiddler: J.S. Bach’s six Sonatas and Partitas, from 1720; Paganini’s 24 Caprices, completed in 1817; and the Six Sonatas by the Belgian master Eugéne Ysaÿe, who was busy composing them exactly 100 years ago.
To mark the centenary, Hilary Hahn has trekked to the peak, releasing a new album of all six of Ysaÿe’s thorny works, each with a distinct personality, each reaching treacherous and sublime heights. Ysaÿe is credited with ushering in the modern mode of violin playing that emphasized virtuosity (but not empty exhibitionism), bold sounds and free-wheeling imagination.
All of that is rigorously packed into the Third Sonata, subtitled “Ballade.” Just getting to all the notes is a major feat, but Hahn, with a big, burgundy tone and pinpoint accuracy, finds a narrative arc amid the composer’s thicket of double stops and broadly colored harmonies. The piece opens with a sober plea, rising upward, braking suddenly, as if delivering a warning. A jagged theme emerges, worked out in passages calm as a whisper or turbulent as a gale force cri de coeur. Ysaÿe closes with a daredevil finish that would make Paganini tremble.
While the music was once considered mainly grist for violin geeks, over the decades Ysaÿe’s sonatas have slowly secured a foothold in the repertoire. Hahn’s new performances guarantee the fascination with these beautiful, inscrutable pieces will not soon fade.
（End）
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2023年7月21日追記：
「作曲から100周年にあたる今年、孫弟子にあたるハーンが待望の全曲録音！」
というプロモーション・メールを受信しました。
そうなんです。ヒラリー・ハンちゃんは、イザイの「孫弟子」さんなのでした。
実に戦略的なやり方ですね。
（2023年7月21日記）