未知の宝石が光輝く!
巧みなプログラミングによるモーツァルト・トリビュート。

2019年英グラモフォン賞「アーティスト・オブ・ジ・イヤー」受賞、2020年ドイツ『オーパス・クラシック賞』器楽録音(ピアノ)部門受賞と世界的な音楽賞を次々と射止める驚異的な才能。世界が絶賛するデジタル時代のハイブリッド・アーティスト、ヴィキングル・オラフソンによるモーツァルト・トリビュート。
モーツァルトのお気に入りの作品を、彼の同時代の作品と一緒にプレイリストのように絶妙に配置。ドイツ=オーストリアのカール・フィリップ・エマヌエル・バッハとハイドンは、音楽と精神の両方でモーツァルトと密接に関係を持つ一方、イタリアのガルッピとチマローザは、モーツァルトと直接的な繋がりはなく、地理的距離もあったにせよ、18世紀の同じ音楽生態系に属し、共存した異なる美的価値を反映している。
ピアノ学習者が必ず学ぶモーツァルトのソナタ第16番(旧第15番)やハイドンのソナタ第47番など大変有名な作品と、現在ではあまり顧みられなくなった同時代の作曲家、ガルッピ、チマローザ、C.P.E.バッハらの珠玉の作品を並置することでそれぞれ魅力を倍増させている。新たな発見の喜びを提供する非凡なアルバム。
ウィーン古典派作品における繊細かつ大胆な独自の解釈は、ピアニストとしての評価さらに決定的なものとする。
ユニバーサル・ミュージック/IMS

発売・販売元 提供資料 （2021/07/07）

Pianist Vikingur Olafsson has been called the Icelandic Glenn Gould, as much for his temperament as for his playing, and many of his recordings have been innovative and even experimental. He has recorded adaptations of Bach with Icelandic electronic musicians, for example. Compared with such outings, an album called Mozart & Contemporaries may seem to be a return to convention, but a few minutes of sampling will reveal that it is not at all. Olafsson assembles a unique program from exquisitely careful and detailed Mozart performances, sonatas by a pair of unusual contemporaries, and an ordering of the whole that brings the listener into a rarefied world. The largest work on the program is the Piano Sonata in C minor, K. 457, which the pianist likens to a three act opera, and convincingly delivers on his premise, but the smaller pieces are even better. Olafsson offers two of the really wildly experimental works of Mozarts last years, the Adagio in B minor, K. 540, and the Kleine Gigue, K. 574; the latter piece in Olafssons hands has real strangeness. The Mozart contemporaries included are Haydn and two more that are not so commonly heard (although a hundred years ago they were among the few whose names would have been recognized), Domenico Cimarosa and Baldassare Galuppi. Cimarosa wrote 88 keyboard sonatas that are very rarely played, and the ones here reflect his background as an opera composer; the sense of drama is heightened by slight pianistic modifications from Olafsson. He contributes these to the Mozart Piano Sonata in C major, K. 545, the sonata facile, as well, and it may be that this is not an album for historical purists. It may also be that Olafsson comes closer to the resonances this music would have had in its own time than a dozen more circumspect performances would have.

Rovi