佐藤卓史ピアノリサイタル

シューベルト：補筆完成の諸相～断章から『レリーク』全楽章へ

Takashi Sato Piano Recital Schubert: The Art of Completion — From Fragments to the "Reliquie"

３月２２日（日曜日）15時開演大阪大学会館ホール開場14時30分 Sunday, March 22nd, 3:00 p.m. Osaka University Hall Door opens 14:30

プログラム

シューベルト作曲（未完）佐藤卓史補筆完成

アンダンティーノハ長調 D348

幻想曲ハ長調 D605

2つのレントラー D980C

2つの舞曲 D980A

ピアノ・ソナタ第12番ヘ短調 D625～第1楽章

ロンドハ長調 D309A

（休憩）

ピアノ・ソナタ第15番ハ長調 D840「レリーク」全4楽章

Franz Schubert (Unfinished) / Completed by Takashi Sato

Andantino in C Major, D. 348

Fantasia in C Major, D. 605

Two Ländler, D. 980C

Two Dances, D. 980A

Piano Sonata No. 12 in F Minor, D. 625 – 1st Movement

Rondo in C Major, D. 309A

*****

Piano Sonata No. 15 in C Major, D. 840 "Reliquie" (Complete 4 Movements)

ご挨拶：途切れた旋律のその先へ

ワンコイン市民コンサート荻原哲　大阪大学名誉教授

かつて少年時代に、シュルベルトの「未完成交響曲」を聴いた時のことです。音楽がふいに途切れ、唐突に終わるその瞬間に、私は言葉にできない衝撃を受けました。後年、彼が31歳という若さでこの世を去ったことを知ったとき、あの唐突な「沈黙」が、まるで彼の人生の結末そのもののように思え、胸が締め付けられるような悲しみを覚えたのです。

未完成の作品を、未完成のまま――中断された沈黙のまま――味わうこともまた、シュルベルトの音楽の在り方として尊重されるべきことかもしれません。その「欠落」にこそ、美が宿ることもあります。

しかし、遺された断片を深く読み解くにつれ、そこには確かに「続き」を希求する音楽の強靭な意志が息づいていることに気づかされます。もし彼があと少し長く生き、ペンを走らせていたなら、どのような景色を描いたのだろうか。その「もしも」を想像し、途切れた筆跡を継ぐことは、彼への追悼であり、時を超えた対話であると私は考えています。

本日の前半は、補筆の実験室とも言える多彩な小品群です。比較的自由な形式ゆえに小規模な補筆で済んだ《アンダンティーノ D348》。対照的に、大幅な加筆を行い以前OCCAでも披露した《幻想曲 D605》。舞曲という決まったフォーマットの中で完成形を探ったD980番台の2曲。ソナタ形式という厳格な枠組みの中で構築を試みた《ソナタ第12番 D625》第1楽章。そして、わずか6小節の断片から、ほとんど創作に近い形でシュルベルトらしさを探求した《ロンド D309A》。これらはそれぞれ、楽式の見極めや様式の模倣といった異なるアプローチによる「補筆の諸相」をご提示するものです。

そして後半は、未完の大作《ソナタ第15番「レリーク」》です。第1・第2楽章の完成度に対し、中断された第3・第4楽章。このソナタは規模も内容も充実しており、完成されればいかなる傑作になったか計り知れません。歴史上多くの補筆が試みられてきましたが、本日は私なりの視点で全楽章の完結を試みます。

200年の時を経て、シュルベルトが夢見たかもしれない「結末」を、皆様と共に追体験できれば幸いです。

Greeting: Beyond the Broken Melody

Organizer: Satoshi Ogihara (Professor Emeritus, Osaka University)

I still vividly remember the time I listened to Schubert’s "Unfinished Symphony" as a boy. The moment the music suddenly broke off and ended abruptly, I received an indescribable shock.

Later, when I learned that he had departed this world at the young age of 31, that abrupt "silence" felt like the conclusion of his life itself, and I was overcome with a chest-tightening sorrow.

Appreciating unfinished works exactly as they are—in their interrupted silence—is perhaps a valid way to respect Schubert's music. Indeed, there is a certain beauty to be found in that very "absence."

However, as I study the surviving fragments deeply, I perceive a resilient musical will breathing within them—a will that yearns for "continuation." If he had lived a little longer and kept his pen moving, what kind of scenery would he have drawn? I believe that imagining this "what if" and taking up the pen where he left off is an act of mourning, and a dialogue with him that transcends time.

The first half of today's program features a collection of diverse smaller pieces, serving as a "laboratory of completion."

We begin with the Andantino (D. 348), where the relatively free form allowed for minor additions. In contrast, there is the Fantasia (D. 605), which required significant additions and which I have previously presented at the OCCA. We also have two works from the D. 980 series, where I sought a finished form within the fixed format of dances, and the first movement of Sonata No. 12 (D. 625), an attempt at construction within the strict framework of the sonata form. Finally, the Rondo (D. 309A), reconstructed from a mere six-measure fragment, is a work that explores the essence of "Schubert-ness" through a process that is almost entirely original composition.

These works present "Aspects of Completion" through different approaches, such as discerning musical forms and stylistic imitation.

The second half features the unfinished masterpiece, Piano Sonata No. 15 "Reliquie."

In contrast to the perfection of the first and second movements, the third and fourth were left incomplete. Given the scale and substance of this sonata, it is impossible to measure what a masterpiece it would have been had it been finished. Although many attempts at completion have been made historically, today I will attempt to bring all movements to a conclusion from my own perspective.

It is my sincere hope that, across the span of 200 years, we can share in experiencing the "ending" that Schubert might have dreamed of.

佐藤卓史（ピアノ）

第11回シューベルト国際コンクールでの優勝と、その後の世界的な演奏活動を通して“現代随一のシューベルト弾き”の名声を確立。展開中のライフワークプロジェクト「佐藤卓史シューベルトツィクルス」では、未完成作品の補筆を含む前人未踏のシューベルトのピアノ曲全曲演奏に取り組み、注目を集めている。

秋田市生まれ。高校在学中に日本音楽コンクールで優勝。東京藝術大学を首席で卒業後渡欧、ハノーファー音楽演劇大学、ウィーン国立音楽大学で研鑽を積む。その間、ミュンヘンARD国際コンクール特別賞、シューベルト国際コンクール第1位、シドニー国際コンクール第4位・ショパン特別賞、エリザベート王妃国際コンクール入賞、カントゥ国際コンクール第1位、メンデルスゾーン国際コンクール最高位など受賞多数。ウィーン楽友協会をはじめとする欧州各地のコンサートホールに出演のほか、2011年にはシリア・ダマスカスのダール・アル・アサド文化芸術劇場でソロリサイタルを開催。

NHK交響楽団、東京交響楽団、日本フィルハーモニー交響楽団、山形交響楽団、仙台フィルハーモニー管弦楽団、神奈川フィルハーモニー管弦楽団、大阪交響楽団、広島交響楽団、ベルギー国立管弦楽団など内外のオーケストラと多数共演。「トリオ・ジャパン」（with石田泰尚・西谷牧人）、「トリオ・スペリオール」（with泉原隆志・上森祥平）各メンバーを務めるなど、アンサンブルピアニストとしての活躍は特に知られており、著名アーティストから絶え間ない共演オファーが寄せられ続けている。

近年は作編曲の分野でも活動を本格化させるほか、放送・配信・執筆・レクチャーなど幅広いフィールドで音楽の“楽しさ”と“奥深さ”を伝える活動に力を注いでいる。

www.takashi-sato.jp

Takashi Sato, Piano

Takashi Sato has established a reputation as “one of the leading Schubert interpreters of our time,” following his victory at the 11th International Schubert Competition and his subsequent global performance career. He is currently garnering significant attention for his life-work project, the “Takashi Sato Schubert Cycle,” an unprecedented endeavor to perform Schubert’s complete piano works, including his own completions of the composer's unfinished pieces.

Born in Akita City, Sato won the Music Competition of Japan while still in high school. After graduating at the top of his class from the Tokyo University of the Arts, he moved to Europe to further his studies at the University of Music, Drama and Media Hannover and the University of Music and Performing Arts Vienna. During this period, he received numerous awards, including a Special Prize at the ARD International Music Competition Munich, First Prize at the International Schubert Competition, Fourth Prize and the Special Prize for Best Performance of a Work by Chopin at the Sydney International Piano Competition, a laureate of the Queen Elisabeth Competition, First Prize at the Cantù International Piano and Orchestra Competition, and the top prize at the Mendelssohn International Competition.

In addition to appearances at major European venues such as the Musikverein in Vienna, he held a solo recital at the Dar al-Assad for Culture and Arts in Damascus, Syria, in 2011.

Sato has performed with numerous orchestras both in Japan and abroad, including the NHK Symphony Orchestra, Tokyo Symphony Orchestra, Japan Philharmonic Orchestra, Yamagata Symphony Orchestra, Sendai Philharmonic Orchestra, Kanagawa Philharmonic Orchestra, Osaka Symphony Orchestra, Hiroshima Symphony Orchestra, and the Belgian National Orchestra. He is also highly renowned as a chamber musician, serving as a member of “Trio Japan” (with Yasunao Ishida and Makito Nishiya) and “Trio Superior” (with Takashi Izumihara and Shohei Uwamori), and continues to receive constant offers for collaboration from distinguished artists.

In recent years, he has expanded his activities into composition and arrangement. He also dedicates his energy to conveying the “joy” and “depth” of music through a wide range of fields, including broadcasting, online streaming, writing, and lecturing.