Hyperion「Vinyl Edition」 1,000枚限定生産!
イブラギモヴァのメンデルスゾーン!

「イギリスのもっとも輝かしいレーベル(Britain's brightest record label)」 ハイペリオン(Hyperion)から、アナログ・レコード(LP盤)の新シリーズ「Vinyl Edition」がスタート! Hyperionが長年信頼を寄せてきたフランスのプレス工場MPOにて生産され、名エンジニア、Theo Kriegerによって全世界1,000枚限定でカッティングされたアナログ盤(140g black vinyl)。まずはHyperionを代表するアーティストたち(アムラン、ヒューイット、イブラギモヴァ、ハフら)の名盤がLPヴァージョンでリリースされます。

イブラギモヴァのメンデルスゾーン《ヴァイオリン協奏曲集》は、"モダン・アプローチ"と"ピリオド・アプローチ"の両方に精通するイブラギモヴァが、"ピリオド・アプローチ"でメンデルスゾーンを演奏したことで注目を集めました。また共演したウラディミール・ユロフスキとエイジ・オヴ・インライトゥメント管弦楽団と共に437Hzのピッチが織り成すドイツ・ロマン派の傑作中の傑作《ホ短調Op.64》と、メンデルスゾーン若き日の秀作《ニ短調(1822)》の繊細で透明感のある表現が評価された名演です。
東京エムプラス

発売・販売元 提供資料 （2024/07/04）

The novelty of this recording lies in two qualities. First is its roots in the historical-instrument movement, in the presence of the Orchestra of the Age of Enlightenment under the baton of Vladimir Jurowski. They don't appear to be using actual period instruments from the early 19th century, but with a total of just over 40 musicians this is a lean set of Mendelssohn performances without a doubt. The second unusual quality is the presence of Mendelssohn violin concertos in the plural. Many listeners may be unaware of the earlier item, the Violin Concerto in D major that rounds out the album. It was composed in 1822, when Mendelssohn was 13, and it stands apart even from his other early works: except for the very Mozartian slow movement it seems to have been an attempt to master the virtuoso idiom of the French violin school of Giovanni Battista Viotti and his successors. With its legato yet flashy lines it doesn't sound much like Mendelssohn at all. The Orchestra of the Age of Enlightenment and Russian-British violinist Alina Ibragimova do quite well here. She has a bright, wiry tone and an agile, electric way with passagework, and in this rather odd concerto the small forces are appropriate. It's an item worth space in the collection of Mendelssohn buffs. The case is less clear when it comes to the famed Violin Concerto in E minor, Op. 64, which was written more than 20 years later. Ibragimova's mastery of the technical details does not flag in the broad and varied opening movement, and there's nothing really to quarrel with throughout. But there's a certain flatness of affect to the whole that will put some listeners off. Jurowski's reading of Fingal's Cave, clear and precise, may also be a matter of taste, but it's certainly on the dry side. Your mileage may vary, and the recording does what it sets out to do. The Henry Wood hall sound is all that could be desired. But if you're looking for broad, warm readings of Mendelssohn's sentimental melodies, sample to make sure you feel you're getting them here.

Rovi