小林道夫 チェンバロ・リサイタル オール・バッハ・プログラム　KOBAYASHI Michio, Harpsichord with 16 foot stop (いわきアリオス×市立美術館連携事業)

チェンバロ演奏：小林道夫 KOBAYASHI Michio, Harpsichord with 16 foot stop ※いわきアリオス所蔵16フィート弦付きジャーマン・チェンバロ：マティアス・クラマー製作2008年ドイツ（1754年ツェル/ハスモデル） Harpsichord with a 16-foot stop at the Iwaki Performing Arts Center : Matthias Kramer,Germany 2008 after Zell/Hass 1754 展示作品：若松光一郎 《大地の歌》　1984年 WAKAMATSU Koichiro "Das Lied von der Erde", 1984 曲目 J.S.バッハ　J.S.Bach 00:00:00 - Start 00:00:28 - 開演 00:00:47 - 解説 00:04:51 - 協奏曲 ニ長調 BWV 972　Concert D-Dur, BWV 972 ーヴィヴァルディの合奏協奏曲集「調和の霊感」op.3の第9番ヴァイオリン協奏曲のバッハによるチェンバロ独奏用の編曲 00:13:42 - 解説 00:22:58 - 最愛の兄の旅立ちに寄せるカプリッチョ BWV 992 Capriccio B-Dur, BWV 992 00:35:18 - 解説 00:42:32 - シンフォニア 第８番 ヘ長調 BWV794　Sinfonia 8 F-Dur, BWV 794 00:43:49 - シンフォニア 第９番 へ短調 BWV795　Sinfonia 9 f-moll, BWV 795 00:47:54 - 解説 00:54:07 - イギリス組曲 第2番 BWV 807　Engliscen Suite Nr.2 a-moll, BWV 807 01:15:09 - 解説 01:19:42 - イタリア協奏曲 BWV 971　Italienischers Konzert F-Dur, BWV 971 01:34:31 - アンコール 01:35:50 - ゴルトベルグ変奏曲　BWV988　第25変奏 01:39:26 - 同　アリア 撮影・録音・編集：布施雅彦 Video Shooting, Recording, Editing：FUSE Masahiko 録音データ：2023年6月10日 いわき市立美術館 Recorded at Iwaki City Art Museum, 10th June 2023 Profile　小林道夫　Kobayashi Michio, Harpsichord 東京藝術大学音楽学部楽理科卒業。ドイツのデト モルト音楽大学に留学、幅広く研鑽を積む。帰国後は　チェンバロ、ピアノ、室内楽、指揮など多方面にわたり活躍。特にバッハ、モーツァルト、シューベルトの解釈、演奏は高く評価されている。数多くの世界的名演奏家たちと共演を重ね、最も経験豊かな音楽家の一人と言えよう。 1956年 毎日音楽賞・新人奨励賞、1970年 第１回 鳥井音楽賞（現サントリー音楽賞）、1972年 ザルツブルク国際財団モーツァルテウム記念メダル、1979年 モービル音楽賞、2020年 第30回日本製鉄音楽賞特別賞を受賞。 国立音楽大学大学院教授、東京藝術大学客員教授、大阪芸術大学大学院教授を歴任し、現在、大分県立芸術文化短期大学客員教授。 Program notes ADACHI, Yuji, culator, Iwaki Performing Arts Center Throughout his life, J.S. Bach never left Germany. On the contrary, he spent most of his life in the Thuringian region of central Germany, where he was born and raised, and in eastern Saxony, including Leipzig, where he spent the second half of his life from 1723 onwards. Nevertheless, his skillful incorporation of many of the musical styles considered cutting-edge at the time shows that J.S.Bach was up to date with the latest trends in music publishing, and even if he had never visited Italy, France or England in person, he was always familiar with the music being made there. The first piece, Concerto in D major, was written in 1713, when he was 28 years old. Johann Ernst, brother of Duke Wilhelm Ernst of Weimar, whom Bach served at the time, had studied in Holland, where he collected a variety of excellent musical scores that he had heard and lent to Bach on his return. To meet the expectations of the Marquis, he went beyond mere "reductions" of Vivaldi's works, introducing new themes and devices in the rapid movements and, conversely, absorbing all the stylistic beauty in the slow movements. Such ingenuity would culminate in his later 'Italian Concerto'. The second piece, Capriccio on the departure of a beloved brother, is thought to have been written towards the end of 1703, when Bach was only 18 years old, on the occasion of his second brother Johann Jakob's posting as oboist in the Swedish King's Kingsguard. However, at present, different researchers have come to different conclusions and nothing definitive is known. It is one of the most outstanding of his early solo clavier works, combining descriptive techniques with the improvisatory 'capriccio' form. This was followed by No. 8 in F-major and No. 9 in f-minor from the three-part 'Sinfonia'. Together with the two-voice 'Invention', it was compiled around 1720 as a teaching aid for Friedemann's eldest son. These works are named after the term 'inventio', which means 'conception' and refers to the first stage of rhetoric, showing how to 'conceive' the 'core' idea of a piece from its subject. The fifteen pieces, written in three parts and named 'Sinfonia' (melting things), are in strict counterpoint, but with a surprising amount of inventiveness. The second half of the concert begins with the English Suite No. 2 in a-minor. The English Suites were begun around 1712, when Bach was in the service of the Weimar Court, and were compiled as a set of six pieces in 1725. It was the earliest such large-scale suite to be established, before the French Suites and Partitas. The title comes from a biography of Bach written by Nikolaus Volker, which states that the work was "commissioned by an English lord". However, it is not an "English style", but in fact, influenced by the Six Suites by Charles Dupard, a French musician active in London at that time. It incorporates the Italian concerto style into the French style and attempts to fuse counterpoint into it. The concert concludes with the 'Italian Concerto' from the second volume of Bach's Clavier Exercises, which he confidently introduced to the world around 1735. It is the culmination of Bach's own frequent efforts to create "a work in the Italian concerto style for clavier with two-tiered keyboard", in which the contrast between solo and tutti is vividly depicted by the use of the two-tiered keyboard.