#963 トリフォニーホール・グレイト・ピアニスト・シリーズ2016-17/ネルソン・フレイレ ピアノリサイタル
Triphony Hall Great Pianist Series 2016-17/Nelson Freire Piano Recital

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2017年7月4日(火) @東京/すみだトリフォニーホール
Sumida Triphony Hall, Tokyo /July 4 (Tue), 2017

Reported by 伏谷佳代 Kayo Fushiya
Photos by 三浦興一 Koichi Miura

<出演/performance>
ネルソン・フレイレ (Nelson Freire) piano

<プログラム/programme>
J.S.バッハ(ジロティ編):前奏曲 ト短調 BWV535
J.S. Bach (Ziloti): Prelude E-moll BWV535
J.S.バッハ(ブゾーニ編):コラール《主イエス・キリストよ、われ汝に呼ばわる》BWV639
J.S. Bach (Busoni): Chorale “Herr Jesu Christ, ich schrei zu dir” BWV639
J.S.バッハ(ブゾーニ編):コラール《来たれ、創り主にして聖霊なる神よ》BWV667
J.S. Bach (Busoni): Chorale “Veni Creator Spiritus” BWV667
J.S.バッハ(ヘス編):コラール《主よ、人の望みの喜びよ》BWV147
J.S. Bach (Hess): Chorale “Jesus Bleibet Meine Freude” BWV147
シューマン:幻想曲 ハ長調 作品17
Schumann: Fantasie C-dur op.17

ヴィラ=ロボス:《ブラジル風のバッハ》第4番より「前奏曲」
Villa=Lobos: “Bachianas Brasileiras” No.4〜‘Prelude’
ヴィラ=ロボス:《赤ちゃんの一族》より「色白の娘(陶器の人形)」「貧乏な娘(ぼろ切れの人形)」「小麦色の娘(張りぼての人形)」
Villa=Lobos: “A prole do bebe Suite”〜‘Branquinha (A boneca de Louça)’/‘Pobrezinha (A boneca de trapo)’/‘Moreninha (A boneca de massa)’
ショパン:ピアノ・ソナタ第3番 ロ短調 作品58
Chopin: Piano Sonata No.3 G-moll op.58

*アンコール/encore
グルック(スガンバーティ編):精霊の踊り
Gluck(Sgambati):Dance of the blessed spirit
グリーグ:トロルドハウゲンの婚礼の日
Grieg:Wedding day at Troldhaugen
ブラームス:6つの小品op.118-2 間奏曲
Brahms:“6 Stuecks” op.118〜 No.2 ‘Intermezzo’
ヴィラ=ロボス:『子供の謝肉祭』より第1番「小さなピエロの仔馬」
Villa=Lobos:“Carnaval das Crianças” 〜No.1 ‘O Chicote do diabinho’


すべての音に「オーラ」がある—色彩ではない。オーラとしか表現できない。事実、心地よい波に洗われているうちに、あっという間にプログラムは終了していた。これ見よがしではなく、すべてのパーツが生龍活虎としている。紛うかたなくネルソン・フレイレの音楽ながら、同時に最大限に立ち現われるスコアの魅力。どんなに小さな音の粒子にも宿る、茫洋たる宇宙の拡がり。ニュアンスと手触り、光度。洒落っ気たっぷりの遊戯から一気呵成になだれこむ沈黙、音楽へのふかいリスペクト—拍手をするタイミングが躊躇われる。抑揚の効いたこなれたプログラム構成のなか、前半の締めに配されたシューマンの「幻想曲」は香気の極み。巨大な点描のように舞っては降りつもる音の堆積、そこからうねりをあげる雄弁なテーマ、ダンディズム漂うみごとな低音の舵取り。鍵盤が歓喜しその指に吸いついていくかのような錯覚を覚える。ピアノという近代の怪物から導き出されるのは、羽の翻りにも似た天上の境地。力で押さずに、柔らかな音色の魅力一点でドラマを創りあげる。大曲からアンコールの小品に到るまで、漲る充実度に偏りなし。至芸である。(*文中敬称略。7月5日記。伏谷佳代)

*English
Every single one of his notes has an “aura”; this does not mean simply coloration. I cannot describe his notes in any other way. In fact, while I was being soothed by such pleasant waves, the program was over before I knew it. The performance was not showy, but every part was full of vitality. Unmistakably it was the music of Nelson Freire, but at the same time, his playing manifested the fascination of the chosen scores to the utmost. No matter how small or soft the sound particles, within them dwell the limitless expanses of the cosmos. Nuance and touch, and luminous intensity. After performing in a very playful mood, silence rushed in, immediately revealing a profound respect for the music, and the audience applause was momentarily held back. In this modulated and mature program, Schumann’s Fantasie arranged at the closing of the first half was a fragrant height. Sounds were dancing like huge stippled notes, falling and piling up, from which fluent themes rose as a surging swell, and we heard the dexterous steering of the bass adrift in dandyism. His performance deluded us into thinking that the keyboard was full of joy and the keys went to stick to his fingers. A celestial state akin to a floating feather was released from the piano, the monstrous instrument of modern times. Without forcefully pushing, he created a drama solely with fascinating soft tone colors. All pieces from the great works through to the short encore were wonderfully complete with no lack of balance. It was an unrivaled performance. (Kayo Fushiya)

*Português (Em relação a este Grande Mestre Brasileiro!/ブラジルのこの偉大な巨匠に敬意を表してポルトガル語で)
“Cada uma das suas notas tem uma aura; o que não quer dizer apenas cor. Não consigo descrever as suas notas de qualquer outra maneira. De facto, enquanto tão agradáveis ondas me acalmavam, o programa terminou sem que eu desse conta. A performance não foi vistosa, antes plena de vitalidade. Foi indubitavelmente a música de Nelson Freire, mas ao mesmo tempo o seu desempenho expressou a fascinação até ao limite do resultado pretendido. Independentemente de quão pequenas e suaves as partículas sonoras, nelas habita a vastidão ilimitada do cosmos. Nuance e toque, e intensidade luminosa. Após tocar num registo divertido, surge de súbito o silêncio, revelador de enorme respeito pela música, e o aplauso da assistência foi momentaneamente retardado. Neste programa modulado e maduro, Schumann’s Fantasie no fim da primeira parte foi um clímax perfumado. As sonoridades dançavam como enormes notas paradas, caindo e acumulando-se, das quais cresciam temas fluidos como uma onda, enquanto ouvíamos a mão esquerda à deriva em modo dandi. A performance de Freire levou-nos a imaginar que o teclado estava cheio de alegria e que as teclas colavam aos seus dedos. Como uma pena que flutua, um estado celestial libertou-se do piano, o monstruoso instrumento dos tempos modernos. Sem esforço, criou um drama apenas com fascinantes cores suaves. Todas as peças, das grandes composições ao curto encore, foram maravilhosamente tocadas sem quebra de equilíbrio. Uma performance sem igual.” (Kayo Fushiya)

©三浦興一/Koichi Miura
©三浦興一/Koichi Miura
© 三浦興一/Koichi Miura
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伏谷佳代

伏谷佳代

伏谷佳代 (Kayo Fushiya) 仙台市出身。早稲田大学卒業。幼少時よりクラシック音楽に親しみ、欧州滞在時(ポルトガル・ドイツ・イタリア)には多言語習得と組み合わせた音楽諸般への理解を深める。欧州ジャズとクラシック音楽を中心とした新譜とコンサート評多数。流れゆく音楽の形相を適格に捉え、深くかつ簡潔な文章スタイルで、ジャンルを超えて多くのアーティストから信頼を寄せられている。

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