ベートーヴェン: ヴァイオリン協奏曲 Op.61

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人気ヴァイオリン奏者エーベルレのソロによる
ベートーヴェンのヴァイオリン協奏曲!

ヴェロニカ・エーベルレのベストセラー盤がアナログ盤で登場します。完璧な技巧、そして気品ある確固とした音色。世界屈指の実力派として人気のエーベルレの初の協奏曲アルバムいうこともあり、CD盤は発売当時から高く注目、評価されております。カデンツァはヴィトマン。

エーベルレは2006年にベルリン・フィルとベートーヴェンの協奏曲を演奏して一挙に世界の注目を集めましたが、その時の指揮者もラトルでした。カデンツァは、イェルク・ヴィトマンがこのエーベルレとラトル&LSOの録音のために書いたもの。ベートーヴェンがこのヴァイオリン協奏曲をピアノ協奏曲に編曲した際に書いた、ティンパニとヴァイオリンソロの対話も印象的なカデンツァに倣って、ここでもティンパニが登場。さらにコントラバスも加わり、時に三者による演奏の場面もあり、さらに種々の奏法が盛り込まれた超絶技巧で、聴きどころ満載のカデンツァとなっております。

※CD(LSO-5094)に収録の《ヴァイオリン協奏曲ハ長調 WoO5 ～アレグロ・コン・ブリオ(断片)》は収録されておりません。
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It is a bit surprising that what composer Jorg Widmann attempts here hasnt been done more often. Widmann furnishes a set of three new cadenzas, in his own idiom, for Beethovens Violin Concerto in D major, Op. 61, and this has proven intriguing enough to listeners to propel the album, featuring violinist Veronika Eberle and the London Symphony Orchestra under Sir Simon Rattle, onto classical best-seller charts in 2023. After all, violinists and composers since Beethovens time have devised their own cadenzas for the work. Widmanns are in a more modernist language, but they are not different in kind from earlier attempts. Listeners will make up their own minds about the results, but here are some things to keep in mind. Widmanns contributions are hefty, beefing the concerto up to more than 52 minutes. Widmann describes his method this way: "Nothing was to overshadow the original, and yet I wanted to create a completely new tonal cosmos in which Beethovens themes could appear in a very different light." In a way, they are cadenzas but looked at another way, the end result might be described as a Beethoven fantasy. He also introduces links, not just with the main material of each movement but between his cadenzas and with the main material of the work as a whole. Widmann adds a good deal of virtuosity, and violinist Eberle not only does well with the new material but also smooths the way from Beethoven with a virtuosa reading of the concertos violin part, with almost whispered high notes and muscular passagework. Lastly, the performers do well to include Beethovens fragmentary and rarely played fragmentary Violin Concerto in C major, WoO 4, written between 1790 and 1792. The performers dont use any of the available completions of this first movement but instead let it drop out as it ends in Beethovens manuscript, and what strikes one in this context is how ambitious the 21-year-olds work was at this early stage. Whatever one may conclude here, Eberle, Widmann, and company certainly offer food for thought. ~ James Manheim