僕はその原因のひとつをホールに求めた。松本文化会館は響きを作れる器ではないようで、そのまま楽器がはじき出されて聞こえる。金管・木管・弦がバラバラで、一体に響かない。しかもオーケストラはステージからはみ出しそうに何とかぎりぎりで押し込められ、トゥッティになると明らかに音が割れてしまう。バランス的にも弦が細すぎた。でもそれをまとめているのは小澤だし、部分部分の良さは言わないが、全体として音楽に大きなうねりとか若々しい熱のようなものがなく、どのフレーズも克明に音符を並べてワンパターンになぞるようにしか聞こえなくて、彼の表現は萎えたのかなあ、あるいは自分の感受性が老いたからなのかなあ、などと思いながら苦痛の1時間を過ごした。但し、最初のモーツァルトはまずまず、次の武満は見事なアンサンブルだったと思う。
And so I traveled to Matsumoto for the concert of Saito Kinen Festival this year instead of the live, networked HDTV presentation at Roppongi Hills. Frankly, I have never heard such a “Titan” without inspirations. Ozawa himself looked quite healthy after the recovery from his rather serious disease, and thus the result was totally unexpected.
I considered the hall as one of causes. Matsumoto Bunka Kaikan does not look like a concert hall that generates rich tones acoustically, but simply outputs each instrument: brasses, woodwinds, and strings were all separate and did not sound as a united tone. Furthermore, the orchestra looked too large for the stage barely fitting itself in it, and their Tutti was cracking. The strings were too slim in balance. But all this is under Ozawa’s control, and apart from some excellence in pieces, I felt the overall music did not carry any huge drifts of sentiment or heated passion of youth as he magnifies every passage analytically in a same manner. Is this his shrink or loss of sensitivity on my part? Having said this, Mozart was reasonably good and Takemitsu was such an impressive ensemble.
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