ベートーヴェン : 交響曲第3番変ホ長調Op.55 「英雄」
|価格:||￥ 2,500 通常配送無料 詳細|
フルフィルメントby Amazon™というサービスを利用している出品者の商品になります。これらの商品は、Amazonフルフィルメントセンターにて保管・管理され、Amazon.co.jpが商品の梱包、出荷、返品などを代行しています。フルフィルメントby Amazonの商品は、Amazon.co.jp が販売している商品と同様に国内配送料無料(条件あり)やAmazonプライム®の対象になります。
出品者は、フルフィルメント by Amazonを利用することで、Amazonの経験と専門性を出品者のビジネスに活用することができます。 プログラムに関する詳細
I just want to add a few specific comments on the interpretations. These are two great recordings, the first two Beethoven piano concertos recorded by Rubinstein (and his only recorded collaboration with the two respective conductors), the third on September 29, 1944 with Toscanini conducting his NBC Symphony Orchestra, and the 4th on September 30, 1947 with Beecham and the RPO: by then Rubinstein was already 60 and had behind him a career which would have filled the whole life of many other pianists. And he had another thirty-five years to go! In fact the 4th was Rubinstein's first studio recording of a Beethoven concerto; the third is a live performance, commercialized by RCA in 1946. The interpretations will surprise those who know Rubinstein only through his later recordings, with Krips (1956), Leinsdorf (1964) and then Barenboim (1975): they are uniquely brisk, ebullient, urgent - and even more under Beecham than under Toscanini, or maybe it is an impression derived from the fact that the approach is applied to the 4th Piano Concerto, reputedly one of Beethoven's most lyrical works. But with Rubinstein and Beecham, there is a drive, an ebullience that likens it to the Emperor.
But in fact, this was not entirely "unique". We've forgotten, because another interpretive tradition later became dominant and erased the memory of how things were before, but this is how Beethoven was interpreted until the 1950s, even in the "pastoral" and lyrical 4th: witness (to limit myself to the 4th) the recordings of Schnabel (three between 1933 and 1946, Beethoven: Piano Concerto No. 3, Piano Concerto No. 4,Piano Concerti 4 & 5 and Piano Concerti 3 & 4), Josef Hofmann (in concert with Ormandy in 1938, a stupendous performance, available in the Philadelphia centennary tribute box, The Philadelphia Orchestra the Centennial Colection; there's another version, very similar in conception but not as accomplished in execution, with the New York Philharmonic under Mitropoulos in 1943, Beethoven: Piano Concertos Nos. 3 and 4), Gieseking with Böhm in 1939 (Gieseking Plays Beethoven: Piano Concerto Nos. 4 & 5), Casadesus with Ormandy in 1947 (Claudio Arrau: Beethoven: Concerto No. 3, Op. 37 / Sonata No. 21, Op. 53 "Waldstein"), and I could mention more from the early 1950s. And the same observations can be made on the interpretive history of the Third Piano Concerto.
I have little to object to the previous reviewer's comments, but a few points are in order:
That the approach in the 3rd Piano Concerto is very different from Toscanini's live 1946 recording with Myra Hess, Beethoven: Piano Concerto No. 3 / Wagner: Gotterdammerung (Toscanini Concert Edition), yes it is: the former is brisk by today's standards in the opening Allegro con brio, the latter is insanely fast. I don't hear anything tentative or "searching for a point of view" from Toscanini in 1944, unless you want to call the 1946 performance "Toscanini's point of view". But if so, most listeners are likely to be shocked by the insanely fast first movement of 1946, and be much more comfortable with the brisk but not precipitous Allegro con brio with Rubinstein. And it may be true that 1944 represents Rubinstein's point of view more than Toscanini's. The liner notes of the RCA reissue recall Rubinstein's comments that after a shaky first run-through, Toscanini had adapted the orchestra to his most subtle nuance and rubato. More conclusive still, Rubinstein's live version from the year before, with Ormandy conducting the New York Philharmonic (on the same Music & Arts CD as the Hofmann-Mitropoulos performance of PC #4 mentioned above), is strikingly similar to this one with Toscanini (but with less biting accents from the orchestra). But the Largo in 1946 with Hess is much more held-back and hushed than in any of these two Rubinstein performances, and indeed, it is there that some listeners may find that the flowing approach of Rubinstein-Toscanini lacks the "time-suspended" feeling of their favorite versions.
That Rubinstein-Beecham's 4th "is NOT a Germanic view of the piece (such as Kempff or Backhaus have given us)", absolutely, but that it "emphasizes the pensive, romantic qualities" of the composition, no, I wouldn't say that. But its Schumanesque aspects, yes, if you mean the Schumann of the passionate and capricious Florestan rather than of Eusebius the dreamer.
Unless you want this specific pairing, I advise to go to the "sources": the official RCA-BMG transfers.