貝多芬 : D大調鋼琴協調曲 op.61a
C.P.E 巴赫 : C小調協奏曲 WQ43, no.4
鋼琴 : Dmitri Bashkirov
洛桑室樂團 / Peter Csaba
錄音場地 : 瑞士洛桑 Salle Metropole
錄音年份 : 2010年4月30日至5月2日
Claves
50-1010 DDD [57:18]
格鲁吉亞裔鋼琴家Dmitri Bashkirov(1931-) 師承俄羅斯鋼琴樂派的正朔，跟隨莫斯科音樂學院的Alexander Goldenweiser 教授(與Rachmaniniv及Medtner份屬死黨) 學琴 ，號稱四大金剛之一(另外3位是Samuel Feinberg、Heinrich Neuhaus及Lev Oborin) ，Goldenweiser可謂桃李滿天下，門生亦包括 Lazar Berman!! Bashkirov畢業後留校任教，自1957年成為莫斯科音樂學院的正教授後，一直致力作育英材，直至1991年，培養出多位出類拔萃的年青鋼琴家包括 Dimitri Alexeev、Acardi Volodos、Nikolai Demidenko、Elder Nelbosin等人!!!
Bashkirov曾於10多年前訪港，encore的Prokofiev 「The Love of Three Oranges」及 Rachmaninov Lieder效果先聲奪人，既炫技，又有啷啷上口的歌唱性，至今記憶猶新，乃是俄國鋼琴藝術的極致示範!!! 真想知道今年簫邦學會(Chopin Society) 會否再邀請 Bashkirov再臨香江獻技呢?
Dimitir
Bashkirov與Lazar Berman一樣，繼承了俄羅斯鋼琴學派一貫的信條，着重在演奏中，借音色表達出感情與對比，強調與聽衆分享作品中的喜怒哀樂，七情六慾; 有別於維也納鋼琴學派對作曲家作出仔細的評析，過份分析風格及堅持半步不能逾越的分寸，令演奏相對規規矩矩，缺乏了彈性及想像力!!!
貝多芬D大調鋼琴協奏曲 Op.61a一般並非是音樂廳演奏或灌錄唱片的指定曲目範疇，亦非我們常聽到的5首經典鋼琴協奏曲之一，因為貝多芬為自已的D大調小提琴協奏曲 (Op.61) ，譜寫過一首差不多是1:1直接改編傳譯的鋼琴改編版本 (Op.61a) 。鋼琴改編版Op.61a的特色是貝多芬為鋼琴版的第一樂章，專門譜寫了亠個極富皇者氣派的華彩樂段 (Cadenza) ，Cadenza自莫札特時期起，一般由獨奏者用該樂章的主題作即興 (Improvisation)發揮，但貝多芬卻別出心裁，採用了鋼琴加定音鼓的特殊Mix and Match配器，德文稱為Paulkenkadenz (若閣下有購入本碟，請留意19:19 – 23:44) ，當定音鼓(Timpani)奏出5下主題動機，貝多芬創作了一個16小節的進行曲，效果有趣，而且音效夠震撼，考驗你套 Hi-Fi的三頻平衡度及定位!!! 另外貝多芬亦為第2及第3樂章之間譜寫了一個連接樂段，由此可見貝多芬確是喜愛這個Op.61a鋼琴改編版，多過Op.61的小提琴協奏曲版本，反而貝多芬並無為Op.61譜寫過半句Cadenza。
不得不讚 Bashkirov的音色控制色彩斑爛，寶刀未老，和弦、琶音及造句處理得極為細腻，正氣凛然的格調，令人想起Richter及Arrau!!! 伴奏的匈牙利指揮Peter Csaba原是小提琴家出身，速度掌握得不徐不疾，洛桑室樂團在Csaba棒下既有機動性，又不乏文化氣息的弦樂行進，木管組温暖如初春的陽光，演奏極富彈性及光澤 ; 搭子是CPE 巴赫的C小調協奏曲，效果清新，四個樂章連城一氣，縷縷不絕的琴音帶出形而上的理性美感，彷如初夏的朝露，泛著生機勃勃的活力。
演錄俱佳，定位清淅，多咪多軌數碼製作，音質透明柔和，Close miking完全捕捉了漢堡Steinway & Sons D274的靚琴音，如珍珠米般温潤剔透，結像略大，間中亦聽到 Bashkirov和唱的「呻吟」聲 (但又未泛濫到如Glenn Gould般連續喃嘸!)，有認識的寶島Hi-Fi發燒友以聽到兼數到 Bashkirov有幾多下「呻吟」聲，作為考驗器材的弱音分析力，確是無聊頂透!!! 俾佢吹脤! 正如 Krystian Zimmerman曾説，這些非音樂化的細節與音樂又有何干呢?
LP
CD
CD (TOWER RECORDS UNIVERSAL VINTAGE COLLECTION +plus PROC-1444)
Quoted
from avahxhm :
"Mozart
was the composer said to have a direct compositional connection to God, but
with this recent Deutsche Grammophon "The Originals" release,
violinist Wolfgang Schneiderhan makes a compelling case that Mozart was not
alone. Beethoven's Violin Concerto is one of the most sublime works in the classical
repertoire, and it is amply demonstrated with this new reissue by DG. The
performance, one of the most famous on record, has been remastered using DG's
"Original-Image-Bit-Processing" digital mixdown. This process was
developed in conjunction with the "4D" technique that Deutsche
Grammophon use on their recent CD's.
As
listener, you are given a fairly close seat to the stage , with Schneiderhan
placed directly in front of the orchestra. The Berlin Philharmonic are set in a
wide soundstage that will extend the boundaries of your speakers. The strings,
timpani and horns are well preserved, with the rest of the winds slightly less
so. The soundstage is not particularly deep, but is still quite believable
within the bounds of the Jesus-Christus Church in Berlin.
Let me
say that I fully agree with legendary moniker of these recordings. Schneiderhan
is one of those rare artists that convey the essence of the music. Tempos are
perfectly judged and are shared with a purity of sound that is beguiling.
Subtle rubato is used to great effect throughout the first two movements, and
the Rondo is paced to perfection in order to allow the concerto to follow its
logical conclusion.
Wolfgang
Schneiderhan uses his own cadenzas adapted from Beethoven's piano arrangement
of the Violin Concerto. He shines in these unique adaptations, and the timpani,
so crucial in this work, are used to wonderful effect.
Eugen
Jochum and the Berlin Philharmonic Orchestra are stellar accompanists. The
depth of string tone and tuning of the winds are constant joys in these
performances. The timpanist, who plays a pivotal role in the Beethoven, is
outstanding. To hear a truly great string section, turn up the volume and
listen to the first movement reprise of the opening tutti played fortissimo.
Magnificent.
Mozart's
Violin Concerto No 5, while lighter in tone, if not spirit, compared to the
Beethoven Violin Concerto, is also given a great performance. This 1967
recording, made five years after the Beethoven, is a model of delicacy and
taste. The Schneiderhan sound is back, with flawless intonation and effortless
phrasing. Elegance and true musical pleasure are your rewards in this
performance.
"The
Originals" reissues are a wonderful opportunity for collectors to obtain
many legendary performances at mid-price. I urge all lovers of the Beethoven
Violin Concerto, no matter which recording(s) you own , to seek out
Schneiderhan and company. Understated genius awaits you. Highly recommended. "
現今頂尖的小提琴家演奏Op.61小提琴協奏曲，大多採用姚阿幸(Joachim) 或克萊斯勒(Kreisler) 撰寫的Cadenza，Oistrakh、Menuhin及Perlman都用了Kreisler、Szigeti用了 Joachim，Heifetz打孖用了老師Auer(首樂章)及Joachim(第三樂章) ，兼加自己料，最有性格的串星Milstein堅持自我原創Cadenza。
奧地利小提琴大師Wolfgang Schneiderhan(曾任VPO首席及Carl Seemans的伴奏伙伴)卻別樹一幟，將鋼琴版Op.61a的Cadenza，倒轉改番小提琴(Op.61)版本 (由Paul Badura-Skoda編彙)，有興趣者可以找 DGG The Originals 4474032一聽，Schneiderhan的發音雋永純情，勝在典雅精緻，兼有BPO君臨天下的皇者氣派，BPO於Jochum棒下氣勢如虹，定音鼓與小提琴的交錯對答扣人心弦，音響質素是DGG錄音中罕有靚聲的，因為整隊樂團的3D分佈效果，可謂永垂不朽的名盤。
相反Op.61a鋼琴版錄音相對較少，聽過兼收藏的只有Daniel Barenboim、Pollini、Mustonen和 Berezovsky，更莫談於音樂廳現場聆賞!!!
順帶一提，Claves即將於7月發行Claudia Abbado與Lucerne Festival Orchestra合奏的莫札特木管協奏曲(但未知是oboe、basson、抑或是Clarinet) ，是Abbado生前最後的現場實況錄音，大家唯有拭目以待了!!!
