Media coverage reviews, etc.
Live performance from the September 2004 Music Director Inauguration Commemoration Concert. The sound of the hall is beautiful when listening to SA-CD Multi. The N Symphony Orchestra also sang with an unusually warm tone and ease. Ashkenazy's humanistic musicality is bringing change to the NHK Symphony Orchestra. I have high expectations for his future activities.
-- Contents (from "CD Journal" database)
When a new music director or permanent conductor takes over a certain orchestra, there is a lot of anticipation as to how this person will change the orchestra. Of course, it means moving in a better direction than his predecessor. However, the argument is that orchestras are always passive and fall short in many ways, and that it is only natural for conductors to educate them on these points. It is true that the orchestra is nurtured by the conductor. However, conductors are also often nurtured by orchestras. Moreover, they can't compete with the N-Kyo class orchestra. Honestly, after listening to this live performance to commemorate his inauguration, it seems like the NHK Symphony Orchestra needs to develop its own music director. Of course, it is not hard to imagine that the more they perform together, the more they will inspire each other and achieve even better results, but the musicians are likely to be able to see through the general aspects of Ashkenazy's shortcomings at this point. However, in this performance of Beethoven, you can hear the passionate spirit of ``Let's make Ashkenazi a man!'' so to speak. It's not disrespectful or anything. If Ashkenazy makes great strides, the orchestra will also make great strides, so the NHK Symphony Orchestra should continue to nurture its music director with compassion. The tempo of both symphonies is a bit forward and the vertical lines are not very aligned, but this is basically due to the sticks. However, the orchestra quite independently steps on the accelerator and asserts itself. Also, he is quite indifferent to the volume balance of each part or the overall volume. This is difficult to judge by the musicians playing, so Ashkenazy has to adjust the level properly. What surprised me a little was the theme of "fate". The second part of Da Da Da Daan is supposed to be twice as long as the first time, but it's so short. But other than that, it's a straight forward approach with almost no tricks. Well, in any case, good results can only be achieved when the conductor and orchestra improve each other. From now on, from now on. (Ritsunori Ishihara) --- February 2005 issue -- Contents (from "CD Journal Review")
