Here, she focuses on using vibrato that is barely noticeable on the strings. Although it is not as bad as non-vibrato, she does not have the left hand fingers vibrate the string section to a degree that is noticeable. What effect does that have? I wonder. At the very least, the string ensemble in Mozart has a naturally constructed transparency and should be fresh and full of life, but the string ensemble's propulsive freshness feels too stiff. Also, in Mozart, the crucial exquisite moment of "gap" and "flow" are stagnated, and it feels like the flexibility to control that "propulsive force" is lacking. Both the string and percussion groups seem to lean more toward Haydn-esque acoustic radiation characteristics of vertical lines (the timpani strikes also seem too assertive). By the way, in the live recordings of Karajan's performances in Salzburg and elsewhere in the 1950s and 1960s, the string vibrato and fresh, elegant handling are extremely skillful, with a rare freshness and rich balance that gives off a high-level dramaturgy on a different level to this performance. Also, although it's sad that we no longer hear the names of Guschlbauer, one of Karajan's former pupils, as well as his ally Dr. Boehm and Karajan's former senior Bruno Walter, were like that. In any case, I think it is important for a conductor to have an "introspective, philosophical narrative" that does not fall into the trap of unnecessary, intentionally foolish expressionism. At this point, if you can find somewhere to listen to the conductorship of Bernhard Paumgartner, the unrivaled authority on Mozart who was Karajan's childhood teacher and president at the time, conducting the Mozarteum Orchestra (Conservatory Orchestra), please listen to it. By the way, when the orchestra is in high spirits and anticipation during the actual performance, and each individual musician has reached the level of having memorized the music, and is fully prepared, and there is a sense of premonition⚡ and confident motivation among the musicians that goes beyond the expected harmony, then the conductor should conduct completely from memory. The chef of a particular orchestra should always maintain this attitude and never deviate. In fact, this is the norm for those who are recognized as maestros by everyone, including Toscanini, Furtwängler, Karajan, Dr.Böhm, Szell, Keilbert, Matacic, Celibidache, Sawallisch, Munch, Ozawa Seiji, Mitropoulos, Abbado, Vant, Maazel, Kleiber, Blomstedt, Barenboim, Eschenbach, Dutoit, Rattle, Takashi Asahina, Kazuhiro Koizumi, Yasuhiko Shiozawa, Kenichiro Kobayashi, and Dudamel, and… it was in that ultimate moment that their competitive spirit was ignited. A conductor who always sticks his nose into the score, acting like a good student, but actually sticks red, blue and yellow sticky notes all over the score page to camouflage his timidity, considers the score in front of him as a "valuable authority" so that everyone can accept it even during the performance, as if he is "doing it exactly as written," and when he sees himself being led by the score in the performance with a poor excuse that he is not enough of a servant of the composer, it is inevitable that he is seen as a very sissy or lacking "resolve for the stage". If there was a mistake and the music stand/score was not in front of the conductor's podium, he/she would probably cry and go crazy lol. However, the maestros mentioned above and others always performed the performance perfectly by heart - others include Markevitch, Hiroyuki Iwaki, Suitner and Thielemann, Karajan's last disciple in his later years. or others 🌠. In the past, the "existence" of a maestro was rooted in that, and it was proof of training. Otherwise, a conductor is merely a weak-willed "music introducer" in front of the audience. The same goes for Muti, a cunning political planner who moved to Anif, the same place as Karajan, who once called him directly to Salzburg, after he was driven out of Milan because he found Abbado, a direct disciple of Karajan, to be a hindrance and hostility, Nelsons, who is busy promoting Salzburg, and the expressionist Petrenko. The only motivational structure he can adopt is to "appease" the orchestra members in a flattering manner, and to politely appease the audience in the venue, so he has no choice but to camouflage himself as a coward who cannot conduct from memory 😼. Do they have a firm and clear conducting and performance philosophy? If that's the case, I have to say, Nein! th-cam.com/video/eK9vZWquKL4/w-d-xo.htmlsi=ZuYMSEX9tcEQusEH
リンツだ！曲調にメリハリがあり、動と静を
繰り返すとても難しい曲ですが世界のトッププロが演奏すると圧巻ですね！
是非とも生で聴いてみたい！
コメントありがとうございます。
彼女はここでは弦の目立たぬほどのヴィブラート処理を主軸に置いている。ノンヴィブラートほどではないが、弦楽セクションに目立つほどに左手指にヴァイブ掛けさせてはいない。それがどのような効果を生んでいたか？自分には疑問だが。
少なくともモーツァルトでの弦楽合奏の自然構築されたような透明感を有し瑞瑞(みずみず)しく生命力溢れるべき弦楽アンサンブルの推進鮮度が堅過ぎる感じを受ける。またモーツァルトに於いては肝心要の絶妙な一瞬の「間隙」間合いと「流れ」が滞ってしまってその「推進性」を従える柔軟性に欠けているように感じられる。管弦打楽器群共に、どちらかと言えばハイドン的な縦線の音響放射特性に傾いている様な(ティンパニの打突も主張し過ぎている様子)。
ところで、カラヤンのザルツブルグとかのLIVE記録に於いてのモーツァルトの1950〜60年代は、その弦楽ヴィブラートと清新な品格処理は実に巧く類稀な鮮度と滋味溢れるバランスでこの演奏とは別次元な高次ドラマツルギーを放っていると感じられる。
また、今ではその名を聞けなくなって寂しいがかつてのカラヤンの弟子の１人グシュルバウアー、また盟友Dr.ベームやカラヤンのかつての直先輩格ブルーノ・ワルターもまたそうであった。
何れにせよChefたる指揮者には、徒(いたずら)に意図的愚策な表現主義に陥らない「内省哲学的な物語性」の有無が重要と思う。
この時点で、それよりモーツァルテウム管弦楽団(音楽院オーケストラ)を指揮したカラヤンの幼年時代からの恩師であった当時学長のモーツァルトの研究権威として右に出る者は無い、ベルンハルト・パウムガルトナーの指揮演奏を何処かで聴けるなら聴いてみて欲しい。
ちなみに本番演奏では、そのオーケストラも気合と期待が入っていて楽員個人個人も暗譜レベルにまでさらって準備万端整理到達できていて、楽員相互にもはや想定される予定調和以上の「何かが起こるかも…」という予感⚡と確信的モチベーションの電撃的ムードが生じているなら、指揮者は完全暗譜指揮で臨むべきだ。特定オーケストラのChefたるChefはそういう姿勢を常に持し決して外してはならない。現にトスカニーニ、フルトヴェングラー、カラヤン、ベーム、セル、カイルベルト、マタチッチ、チェリビダッケ、サヴァリッシュをはじめ、ミュンシュも小澤征爾もミトロプーロスもアバドもヴァントもマゼールもクライバーもブロムシュテットもバレンボイム、エッシェンバッハ、デュトワ、ラトルも朝比奈隆も小泉和裕も汐澤安彦も小林研一郎、ドゥダメルも誰もが認めるマエストロだと認知される存在に於いてはそれが常態であり、その究極の刹那にそれぞれの勝負魂に火を付けている(いた)のである。
いつまでもスコアに首を突っ込んでいる優等生様態で、実はその小心者ビビリをカモフラージュさせようと赤青黄色の付箋をスコアページの至る所に貼り付けている様な指揮者が「自分は譜面通りにやっていますよ」とばかりに本番でも目の前のスコアを衆生が認め得る様に「有難い権威」とみなし、自分はその作曲家の下僕足らんと貧しい自己弁護で本番でもスコア首っ引きを由としている姿を観るにつけ、実に女々しいというか「舞台勝負に於いての覚悟」そのものが無い、と見なされても仕方ない。もし手違いで指揮台の目の前に譜面台/スコアが無ければ彼・彼女はベソかいて錯乱発狂でもするのだろう笑。
しかしながら上記をはじめとしたマエストロたちは常に本番完全暗譜を普通に成していた〜他にマルケヴィッチ、岩城宏之、スイトナー、そして晩年のカラヤンの最後の弟子ティーレマンも然り。
かつて、マエストロであるべき「実存」は、そこに根ざしていてそれが研鑽の証であった。でなければ指揮者は聴衆の前で単なるナヨナヨした「楽曲紹介者」レベルでしかない訳さ。長年カラヤンの直弟子のアバドの存在が邪魔で疎ましく敵対視しミラノを追われてからは、かつて直接電話で夏のザルツブルグに呼んでくれたカラヤンと同じアニフに転居した狡猾な政治的画策者のムーティやザルツブルグ営業に余念がないネルソンス、表現主義者ペトレンコにしてもまた而り。オーケストラの楽員に対しては太鼓持的な「御機嫌取り」、会場の聴衆に対しては恭しいご機嫌伺いでのモチベーション構成しか採れないのだろう、その暗譜指揮ができない小心者としてのカモフラージュをするしかない😼。確固たる透徹した指揮演奏哲学を持しているか？ということになればNein!と言うしかない。
彼女の輝かしいプロフィールを見れば、全員とは言わぬまでも世界の多くの職業的音楽人たちが彼女の力量を認めていると思わざるを得ない。方や、ここで知ったかぶって沖澤さんの批判をしてる人は何なんでしょうね。何の実績もないからここでぼやくしかないんだろうなあ。未だに西洋崇拝から脱却できないのか、それとも嫉妬なのか。笑うしかない。
ネット右翼と同じで、コンプレックスと無知を晒して文句をつける先を見つけてウサをはらす、ルサンチマンと呼ばれる種族です。
名指揮者アーノンクールは生涯カラヤンを尊敬していた。年を取ればとるほど、経験を積めば積むほどカラヤンの偉大さが良く解ると。特にモーツアルト、ブルックナーに。武満はカラヤン最後の来日公演のモーツアルト、ブラームスに感嘆。これほど凄いとはと書いておられる。沖澤さんは素晴らしい。今後カラヤンのような高みに達して欲しい指揮者。
素敵なコメントありがとうございます。
男性マエストロには決して出せないであろう柔らかなタクト先端の軌跡に注目❤
コメントありがとうございます。
机の上をきれいに整理整頓なさっています。
コメントありがとうございます 几帳面な方なのでしょうね。
@@hasamijima8650 様 あくまでも比喩です。
今日沖澤のどかさんと会いました
それは良かったですね
感動しました！
コメントありがとうございます。
4:39
カラヤンアカデミー、しかし、沖澤さんの肌理の細かい、内容の詰まった、しかも実に自然に流れるモーツァルトは、カラヤンの砂糖菓子のような人工的な演奏とは比べ物にならないほどすばらしい。 虚飾なく実に美しく、感動！
素敵なコメントありがとうございます。
@@hasamijima8650 アップをありがとうございました。知りませんでしたので。
カラヤンのモ－ツァルトはオペラを除くとほとんど駄目駄目
点が見えない指揮者はお飾り
Here, she focuses on using vibrato that is barely noticeable on the strings. Although it is not as bad as non-vibrato, she does not have the left hand fingers vibrate the string section to a degree that is noticeable. What effect does that have? I wonder.
At the very least, the string ensemble in Mozart has a naturally constructed transparency and should be fresh and full of life, but the string ensemble's propulsive freshness feels too stiff. Also, in Mozart, the crucial exquisite moment of "gap" and "flow" are stagnated, and it feels like the flexibility to control that "propulsive force" is lacking. Both the string and percussion groups seem to lean more toward Haydn-esque acoustic radiation characteristics of vertical lines (the timpani strikes also seem too assertive).
By the way, in the live recordings of Karajan's performances in Salzburg and elsewhere in the 1950s and 1960s, the string vibrato and fresh, elegant handling are extremely skillful, with a rare freshness and rich balance that gives off a high-level dramaturgy on a different level to this performance.
Also, although it's sad that we no longer hear the names of Guschlbauer, one of Karajan's former pupils, as well as his ally Dr. Boehm and Karajan's former senior Bruno Walter, were like that.
In any case, I think it is important for a conductor to have an "introspective, philosophical narrative" that does not fall into the trap of unnecessary, intentionally foolish expressionism.
At this point, if you can find somewhere to listen to the conductorship of Bernhard Paumgartner, the unrivaled authority on Mozart who was Karajan's childhood teacher and president at the time, conducting the Mozarteum Orchestra (Conservatory Orchestra), please listen to it.
By the way, when the orchestra is in high spirits and anticipation during the actual performance, and each individual musician has reached the level of having memorized the music, and is fully prepared, and there is a sense of premonition⚡ and confident motivation among the musicians that goes beyond the expected harmony, then the conductor should conduct completely from memory. The chef of a particular orchestra should always maintain this attitude and never deviate. In fact, this is the norm for those who are recognized as maestros by everyone, including Toscanini, Furtwängler, Karajan, Dr.Böhm, Szell, Keilbert, Matacic, Celibidache, Sawallisch, Munch, Ozawa Seiji, Mitropoulos, Abbado, Vant, Maazel, Kleiber, Blomstedt, Barenboim, Eschenbach, Dutoit, Rattle, Takashi Asahina, Kazuhiro Koizumi, Yasuhiko Shiozawa, Kenichiro Kobayashi, and Dudamel, and…
it was in that ultimate moment that their competitive spirit was ignited.
A conductor who always sticks his nose into the score, acting like a good student, but actually sticks red, blue and yellow sticky notes all over the score page to camouflage his timidity, considers the score in front of him as a "valuable authority" so that everyone can accept it even during the performance, as if he is "doing it exactly as written," and when he sees himself being led by the score in the performance with a poor excuse that he is not enough of a servant of the composer, it is inevitable that he is seen as a very sissy or lacking "resolve for the stage". If there was a mistake and the music stand/score was not in front of the conductor's podium, he/she would probably cry and go crazy lol.
However, the maestros mentioned above and others always performed the performance perfectly by heart - others include Markevitch, Hiroyuki Iwaki, Suitner and Thielemann, Karajan's last disciple in his later years. or others 🌠.
In the past, the "existence" of a maestro was rooted in that, and it was proof of training. Otherwise, a conductor is merely a weak-willed "music introducer" in front of the audience. The same goes for Muti, a cunning political planner who moved to Anif, the same place as Karajan, who once called him directly to Salzburg, after he was driven out of Milan because he found Abbado, a direct disciple of Karajan, to be a hindrance and hostility, Nelsons, who is busy promoting Salzburg, and the expressionist Petrenko. The only motivational structure he can adopt is to "appease" the orchestra members in a flattering manner, and to politely appease the audience in the venue, so he has no choice but to camouflage himself as a coward who cannot conduct from memory 😼. Do they have a firm and clear conducting and performance philosophy? If that's the case, I have to say, Nein!
th-cam.com/video/eK9vZWquKL4/w-d-xo.htmlsi=ZuYMSEX9tcEQusEH
凡演。Mozartのほぼ全てのシンフォニーは弦楽合奏を主体としている。弦の魅力が無ければ、ダメだと思います。菅は必要だけど彩りを添える程度。ティンパニはこの引っ叩き方は完全にアウトです。弦と同じタイミングでこんなに強く引っ叩いたら、全て台無し。
その通り。
それ、あなたの思い込みですよね？ どうせ、ベルリンフィルもウィーンフィルも生で聴いたことないでしょ？w
@@un23 この曲に関する限り、あなたの聴き方は完全に間違っていると思います。弦楽合奏の精度が確保されている限り、どこのオケというのはあまり関係ありません。日本人指揮者で言えば、原田さんとか反田さんのほうが、遥かにいい指揮をしていると思います。お嬢さんMozartには興味ありません。