輸入盤と知りつつ、早く聴きたくて購入した、ピリオド楽器による"ブラ１"。
個人的には、ピリオド楽器による演奏に拒絶感はない。
アーノンクールは大好きだし、ガーディナーとORRのベートーヴェン全集も愛聴している。

このガーディナーとORRによる"ブラ１"も相変わらず堅実で真摯な演奏という印象を持った。テンポはピリオド楽器故に早め。第１＆４楽章が特に気に入った。気持ちよいほど颯爽とした第一楽章の出だし＆ナチュラルホルンによる有名なテーマもGOOD。しかし、第３楽章の管楽器による掛け合いの部分に若干物足りなさを感じてしまったのは、ピリオド楽器の特性故しょうがないか。あと問題の弦によるポルタメントの多用にも好き嫌いが分かれるかもしれない。

あと、ジャケットがとても洒落ていていい。作りも「CDケース」というのではなく、一冊の「本」のような体裁になっているのが、いかにも学者肌なガーディナーらしくて気に入った。
続編も是非聴き続けたい。

5人のお客様がこれが役に立ったと考えています

役に立った

Pen

興味深いカップリングと素晴らしい演奏のピリオド楽器版ブラームス

2008年9月18日に日本でレビュー済み

（発売日が10月14日とあるが、実際には9月17日に発売になっており、以下のレビューはきちんと聴いた上でのものであることをお断りしておく。）

ジョン・エリオット・ガーディナーと（彼が主として19世紀の音楽を演奏するために組織した）ピリオド楽器オケのオルケストル・レヴォリュショネル・エ・ロマンティーク（ORR）が、ブラームスの録音を出し始めた。このプロジェクトは、ブラームス自身や他の作曲家の声楽作品との関連からブラームスの交響曲に光を当てるというガーディナーらしい趣向で、このＣＤでは、ブラームス自身の作った合唱曲や、ブラームス自身がしばしば合唱曲を指揮したことなどを通して彼が影響を受けたと思われる他の作曲家（ここではメンデルスゾーン）の作品と組み合わせる形にしているのが興味深い。曲順どおりに並べると、「埋葬の歌」（ブラームス）、「我ら人生のただなかにありて」（メンデルスゾーン）、「運命の歌」（ブラームス）、そして交響曲第１番となる。

合唱曲には詳しくないので詳細なコメントは控えるが、モンテヴェルディ合唱団の歌は「見事」の一語に尽きる。これまであまり合唱曲を聴いていない私でもついつい引き込まれてしまう。

交響曲第１番について言うと、最近ではブラームスの交響曲もモダン・オケでありながらピリオド奏法を取り入れた演奏が増えてきたが、やはりピリオド楽器での演奏はその特有の音色ゆえにそれらの演奏とも一線を画している。とりわけこのガーディナー/ORRの演奏は素晴らしい。彼らのベートーヴェン交響曲全集同様、颯爽としてセンスが良く、迫力に欠けることはないにもかかわらず決して音が濁ったり団子のような塊になってしまったりすることはなくて、見事な推進力と美しさを兼ね備えた演奏である。彼らのベートーヴェンが気に入った人には絶対におすすめだ。ただし、そんな演奏なので、いわゆる「ドイツ風」とか「巨匠風」とかの演奏が好みでピリオド楽器にアレルギーのある人にはすすめない。

6人のお客様がこれが役に立ったと考えています

役に立った

shadow_dance

カヒーゼ／トビリシ響によるブラームス

2013年3月23日に日本でレビュー済み

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グルジアの名指揮者ヤンスク・カヒーゼ（Djansug またはJansug Kakhidze 1936-2002）と手兵トビリシ響によるブラームスです。
この人はDjansugと書かれたりJansugだったり、日本語だとさらにヤンスク／ヤンスグ／ジャンスグ…カヒーゼ／カヒッゼ…等々検索し難く、コレクターの人は大変そうです。

ドイツのMazur MediaがHDC(High Definition Classics)レーベルとして廉価盤で出した20枚程のカヒーゼ指揮による演奏のうちの1枚で、ブックレットの表紙が変わっただけの同一アルバムもあります。（ Symphony 1 / Tragic Overture ）

録音内容は以下の通り。
Brahms：
1〜4.Symhpony No.1 in C minor, Op.68　　13:54 / 9:22 / 4:56 / 17:48
5.Tragic Overture for Orchestra, Op.81　　11:50
　Tbilisi Symphony Orchestra / Djansug Kakhidze (Cond)

録音年は不明ですが1990年代の録音ではないかと思います。音は悪くもなく全く視聴に問題ありません。やや残響が多めでしょうか。

トビリシ響はカヒーゼと運命をともにした楽団ですが、機能性も悪くなく（たまに重く感じる事もありますが）東欧の地方オケなどと比べれば格段に上手い団体だったと思います。それがカヒーゼの手腕によるものだったのか楽員のポテンシャルだったのか、他の指揮者による演奏を聴いた事がないので分かりません。このアルバムの2曲もカヒーゼ指揮全般に言える至って正統的な演奏で（チャイコは別）、古き善き時代の解釈とほんの少しの現代的エッセンスを加えたような演奏で、安心して聴けるロマン溢れる曲となっています。その分、このアルバムでなければという何かを探すのに苦労しますね。モッサリはしておらず意外とスッキリとした印象でした。

辺境オケ・ソ連系指揮者をの演奏を期待すると肩透かしですが、なかなか立派な演奏だと思います。があまりにも異演の多いこのアルバム、いまのところお気に入りにはなっていませんので星3つ。

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Marco's Mom

Never ceases to amaze

2013年3月31日にアメリカ合衆国でレビュー済み

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Gardiner and the Monteverdi Choir never ever cease to amaze by their high level of professionalism and excellence. Keep it up!

2人のお客様がこれが役に立ったと考えています

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HEY Jean Michel

QUE C'EST BEAU !

2008年11月6日にフランスでレビュー済み

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Exit les interprétations pâteuses de Brahms !
Ici tout est clair, timbré, phrasé mais surtout rythmique ! On entend tout, chaque pupitre, chaque contre-chant, chaque mélodie ! C'est incroyable comme cette symphonie hyper-connue et rabâchée sonne de manière inouïe (au sens premier du terme).
Gardiner n'a pas peur des conflits rythmique, les superpositions et juxtapositions binaire/ternaire sont époustouflantes (IV) et mettent en évidence les aspects rythmiques de la partition trop souvent gommés pas des interprétations marmoréennes et molles (je ne cite personne pour ne pas vexer...). Ici on entend Haydn, là Bruckner, et un peu partout Schumann...

Quand aux oeuvres chorales accompagnant la symphonie, elles sont à l'avenant !
Le Monteverdi Choir est d'une splendeur sonore exceptionnelle, les pupitres homogènes et très caractérisés, on comprend le moindre mot, etc. L'accompagnement est d'une somptuosité instrumentale à couper le souffle.
Il suffit d'écouter les cuivres et les bois dans le Begräbnisgesang pour s'en rendre compte (oeuvre qui doit beaucoup à l'excellente connaissance que Brahms avait de la musique allemande du XVIIème siècle), la montée en intensité et en puissance est des plus réussie. J'y entends Praetorius, Schütz et le Berliner Requiem de Kurt Weill !

Je manque de superlatifs... et bonne nouvelle : la jaquette du CD annonce déjà les 3 autres symphonies... en 3 disques séparé ! ce qui laisse à supposer d'autres heureuses surprises en compléments !

PS : pour ce qui est du contrechant des mesures 19 à 22 du troisième mouvement... désolé mais moi je l'entends fort bien ! encore faut-il reconnaître le son d'une clarinette (ou avoir un bon lecteur de CD) !

7人のお客様がこれが役に立ったと考えています

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Caveat Auditor

Cosi cosi (non fan tutte)

2016年6月2日にアメリカ合衆国でレビュー済み

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I have been a "Jeggy" fan for decades and have just about every recording made with the Monteverdi Choir, Orchestre R&R as well as English Baroque Soloists. First of all, let me get the easy stuff out of the way: The three choral works on this CD are superbly played and sung, aside from being wonderful music which is almost never heard live in concert halls these days (if it was before these days either). These three pieces and performances easily deserve 5 stars and more, and alone make buying the CD worth the money. So I'll skip them by saying they're Jeggy et al. at their finest.

As for the Brahms 1, it leaves me sitting on the fence (fortunately not of the iron spike kind). I have heard this symphony in more live performances and on CDs than I can count. Fortunately, though, the performances I've heard over the years have differed pretty widely, from stodgy, Wagner-like slow performances lasting an hour, to fast ones zipping through it in about 40 minutes (which makes it sound surprisingly Dvorak-like).

Needless to say, the composer apart from Beethoven who sticks his head up faster than you can whack it back down in this symphony is Schumann. If you get the Beethoven and Schumann insider feeling, the performance isn't all bad, and Gardiner does provide that feeling, albeit with some reservations from me.

I wasn't particularly shocked by anything Jeggy did with it. I mean, I know what he stands for, and I've heard his Beethoven, Schumann and Berlioz recordings, among others. And just FYI, I listened to the recording once with Brahms' manuscript score, and once more with the first edition score - the latter being a heck of a lot easier to read than the former - just to check on the purported "authenticity." Having read some "professional" reviews (bwahahahahahaahhaaaa!!! - man, has musical criticism ever sunk in quality since George Bernard Shaw) in blogs and online music magazines, I can't say I felt the rapture of some, nor the disdain of others after listening to the recording.

First, let me state the things which I found interesting and liked. Brahms had a fondness for the valve-less "inatural" horn. We know this because his Horn Trio was written with the natural horn (aka waldhorn) in mind when he wrote it, and it doesn't appear that he changed his mind when he revised a couple of decades later. This preference is a vital clue regarding how Brahms must have wanted his brass section to sound. Today, one almost exclusively hears it played on a valve horn. The valve horn is a son of a beach to play as it is, and the waldhorn is twice as bad as that. Also, the valve horn has a smoother, richer and more equal sound which goes together well with modern-style string instruments and playing. The waldhorn, on the other hand, while quite docile-sounding when played in the piano to mezzo forte range, becomes really gritty in louder passages.

That doesn't sound very good when pitted against a modern grand piano and a violin with all-metal strings and a violinist on auto vibrato. When you add a 1860s state of the art piano and a violin played with gut and steel-wound gut strings without a lot of vibrato all the time, the combination is revelatory. Try listening to the great Harmonia Mundi release from 2008 with 2008, Isabelle Faust, Alexander Melnikov and Teunis van der Zwart Brahms: Horn Trio, Violin Sonata Op.78, Fantasies Op.116 .

Knowing this recording, I wasn't particularly aghast at the rawness of the brass section and "low-vibrato" string section. In fact, I rather enjoyed this aspect of the performance, because I don't doubt that in terms of pure sound - as opposed to performance - this version is probably closer to what one would have heard at the premiere of the symphony than what you hear in Karajan's version.

I thought the tempi and rubati that Jeggy uses are within the ballpark as well, and come off without too many hitches. Personally, I find the hour-long Wagner-sounding performances of this symphony insufferable, and much prefer the Dvorak-like performances, since they don't make me yawn and look at my watch.

Considering the rather fast tempi, less vibrato in the strings and "natural" brass instruments (I don't know about the trumpets, but I'm pretty sure they're with valves given the chromaticism in their parts), the intonation of the orchestra is surprisingly good and is a testimony to the great instrumentalists Jeggy is able to gather around him (no doubt the pay checks help as well). I did not hear any conspicuous out of tune playing, and that's saying a lot for the Orchestre R&R. Overall, the contrasts between the instrumental sections and a lovely emphasis on the deep strings when they go into the coal cellar was quite pleasing.

Now to the less fortunate results of Jeggy's direction. When you have three orchestral sections (woodwind, brass and strings) that sound so different in timbre, you really have to exert yourself to make the music come together as a conceptual whole. It IS possible, but it is not easy. Jeggy doesn't convince me in this department - I mean, the very word "symphony" is derived from Greek '''''''' (symphonia), meaning "agreement or concord of sound." If conductors can manage to pull together the vast built-in differences in, e.g., Sallinen's symphonies, it is possible in Brahms, even on period instruments. And I know that the Orchestre R&R can do it, since their consort in especially the Schumann and Berlioz recordings is magnificent.

I don't know whether this is a byproduct of the balancing issue mentioned in the paragraph above, but another noticeable demerit that must be laid at Jeggy's door is the lack of overall variance in dynamics. Brahms wrote piano and pianissimo in his score, but for whatever reason, the Orchestre R&R seems unable to drop below a mezzo forte. If you're going to let the brass blow at full blast whenever allowed by the score (and believe me, that's what Jeggy does, especially in the passage in the 1st movement where the orchestra plays piano while the solo horn is required to play forte), it is bliss when an orchestra descends into a calming pianissimo. This element is lacking in the present recording.

Another area in which Jeggy didn't convince me was in the use of slides in the strings that he sanctioned as the maestro di tutti maestri. One is not used to hearing glissandi in orchestral music today, yet when one listens to restored old cylinder recordings from the turn of the 19th to 20th centuries, there is no doubt that glissandi were far more ubiquitous than they are today.

I say this with the caveat that it wasn't possible to record a full symphony orchestra (at least not very satisfactorily, since the earliest surviving intentional recording of music, which was played at the conference introducing the phonograph to London in 1888 was of Handel's Israel in Egypt with "a chorus of 4000 voices recorded with phonograph over 100 yards away;" but I challenge you to listen to it and tell me which part of the oratorio is actually being played) with the equipment available then, but at most a string instrument with piano, maybe a string quartet later on. So while we know - more or less - how, for example, Fritz Kreisler played and Caruso sang around 1900, we don't really have any larger ensemble recordings until right before the start of WW I, and then mostly bands because they were LOUD enough to be picked up the primitive equipment. Orchestral recording doesn't really take off until the 1920s or thereabouts. That's already over 2 generations and 1 world war after the 1st was premiered.

Jeggy has decided to reintroduce modern audiences to the orchestral string glissando in this recording. All well and fine, but as a musician learns pretty early on, if you do something, there has to be an idea and consistency behind what it is you do, because otherwise, it sounds silly. This is sadly lacking in the Orchestre R&R's playing. I counted maybe 3-4 slides in various places, and that is just nonsense. Portamento slides would have been used more often than that or not at all, the latter being the case today (except for very rare instances). When they're used in this recording, it seems arbitrary, and because they're used so seldom, they sound odd when they finally do appear, stylistically correct or not. Sorry, Jeggy, but you'll just have to go back to the ol' drawing board with those things.

There are times when the tempo changes in the orchestra don't come off as naturally as one would like to hear. Rubato is not so much a question of period performance or not, but rather of an organic development in the tempo of the music. You can start out the Marcia funebre in Beethoven's 3rd Adagio assai as indicated, and a good musician will take you from there to presto and back again in the same movement without it sounding unnatural (though it would, obviously, be artificial beyond anything that Beethoven intended). I may be exaggerating a bit, but you get my point. There are times in the Brahms symphony where the developments in tempo make you feel a bit uneasy. On the other hand, one must also say that there are times when Jeggy's slightly anarchically extreme touches make you feel very excited.

All in all, therefore, I'd say that the Brahms 1st is a wash when it comes to good and bad in this performance. Unfortunately, that is not a satisfactory result in a classical music performance, which has to leave you either thrilled or thoroughly disgusted if convincingly performed. Anything but "meh." Jeggy's discography is vast, and it would be strange if there weren't some "meh" performances among the hundreds. But this is where a great artist has to halt him/herself a bit. Just because you can record anything you want anytime you want, SHOULD you record anything anytime you want? The obvious answer is no.

Also, it seems to me that Jeggy is your typical English upper class intellectual. Very erudite and able to express his/her erudition more charmingly and eloquently than just about any other intellectual from other lands, while sounding slightly crazy in a maniacal way. Over the years, Gardiner has let some idee fixes of his run a bit too rampant, which has resulted in some performances that should earn him an honorary Odd Fellowship, if he doesn't already have a Unity Meritorious Service Jewel, that is.

Mental conditions such as this tend to proliferate among artists who have met with much success and admiration: The sycophants are many and the honest friends who counsel wisely are few. Perhaps instead of finding differences between how Gardiner thinks music was performed in the 18th and 19th centuries and get cute about it, he should think more about bridging the gap.

3人のお客様がこれが役に立ったと考えています

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Mr P.J.Goodman

but have enjoyed this recording of the symphony and other works

2015年4月16日に英国でレビュー済み

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Not previously familiar with Brahms, but have enjoyed this recording of the symphony and other works.

1人のお客様がこれが役に立ったと考えています

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Martha Cummins

Five Stars

2016年5月12日にアメリカ合衆国でレビュー済み

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One of my favorites.

1人のお客様がこれが役に立ったと考えています

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Symphony No. 1 / Begrabnisgesang Schicksalslied

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