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チョ・ソンジン|ラヴェル:ピアノ協奏曲全集

ラヴェル:ピアノ協奏曲全集

Andris Nelsons, Boston Symphony Orchestra, Seong-Jin Cho
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Pianist Seong-Jin Cho came on the scene as a Chopin specialist and competition winner in that field. However, he has turned to Ravel with a good deal of success, releasing an album of the composer's fearsome solo piano music, and now, in 2025, the two piano concertos, one of them for the left hand. Both works date from after Ravel's direct encounters with American jazz and with the music of Gershwin, which are often cited in Gershwin's development. Of course, the influence went the other way as well, and catching that is one thing responsible for the power of Cho's interpretations here. He has had a strong lyrical bent that has served him well in Chopin. Here, he adds to that a feel for the fresh jazz influences in these concertos. The Piano Concerto No. 2 in G major shows the strongest jazz influence of all, and one can sample the bluesy second theme of the first movement and Cho's relaxed way in the Adagio assai slow movement for an idea of what he is about (many people rave about him, but others are less convinced, and these are ways to tell into which group one might fall). The Piano Concerto for the Left Hand in D major is outwardly less jazzy but offers an improvisational structure, with lots of solo piano work, that shows what was on the composer's mind, and here, too, Cho shows a kind of relaxed command that will more than likely draw the listener in, and it offers plenty of showcases for conductor Andris Nelsons and the Boston Symphony Orchestra, and for Nelsons' way of bringing notable small details to the piano-and-orchestra dialogue. The album was nicely recorded on two different occasions in Boston's Symphony Hall, and its absorbing quality is one factor contributing to its appearance on classical best-seller charts in early 2025.

© James Manheim /TiVo

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ラヴェル:ピアノ協奏曲全集

チョ・ソンジン

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ピアノ協奏曲 ト長調 M. 83 (Maurice Ravel)

1
第1楽章: Allegramente
00:08:36

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

2
第2楽章: Adagio assai
00:09:41

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

3
第3楽章: Presto
00:03:59

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

左手のためのピアノ協奏曲 ニ長調 M. 82 (Maurice Ravel)

4
第1楽章: Lento
00:08:47

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

5
第2楽章: Allegro
00:04:47

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

6
第3楽章: Tempo I
00:05:04

Boston Symphony Orchestra, Orchestra, MainArtist - Maurice Ravel, Composer - Shawn Murphy, Producer, RecordingEngineer - Tim Martyn, MasteringEngineer - Andris Nelsons, Conductor, MainArtist - Robert Wolff, DigitalEditingEngineer - Brian Losch, MasteringSecondEngineer - Seong-Jin Cho, Piano, MainArtist - Nick Squire, RecordingEngineer - Cole Barbour, RecordingSecondEngineer

℗ 2024 Deutsche Grammophon GmbH, Berlin

アルバム·レビュー

Pianist Seong-Jin Cho came on the scene as a Chopin specialist and competition winner in that field. However, he has turned to Ravel with a good deal of success, releasing an album of the composer's fearsome solo piano music, and now, in 2025, the two piano concertos, one of them for the left hand. Both works date from after Ravel's direct encounters with American jazz and with the music of Gershwin, which are often cited in Gershwin's development. Of course, the influence went the other way as well, and catching that is one thing responsible for the power of Cho's interpretations here. He has had a strong lyrical bent that has served him well in Chopin. Here, he adds to that a feel for the fresh jazz influences in these concertos. The Piano Concerto No. 2 in G major shows the strongest jazz influence of all, and one can sample the bluesy second theme of the first movement and Cho's relaxed way in the Adagio assai slow movement for an idea of what he is about (many people rave about him, but others are less convinced, and these are ways to tell into which group one might fall). The Piano Concerto for the Left Hand in D major is outwardly less jazzy but offers an improvisational structure, with lots of solo piano work, that shows what was on the composer's mind, and here, too, Cho shows a kind of relaxed command that will more than likely draw the listener in, and it offers plenty of showcases for conductor Andris Nelsons and the Boston Symphony Orchestra, and for Nelsons' way of bringing notable small details to the piano-and-orchestra dialogue. The album was nicely recorded on two different occasions in Boston's Symphony Hall, and its absorbing quality is one factor contributing to its appearance on classical best-seller charts in early 2025.

© James Manheim /TiVo

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