C.P.E.バッハ: ソナタ&ロンド集＜限定盤＞

カナダ出身のピアニスト、マルク=アンドレ・アムランによるカール・フィリップ・エマヌエル・バッハのソナタ&ロンド集です。LP2枚組。ついに、『グラモフォン』誌の批評家はこのアルバムのアムランに"並々ならぬもの"を期待しました。そしてその直感は正しかったと言って差し支えありません。「要するに、現代ピアノでのC.P.E.バッハの入門にこれ以上のものは考えつかない」と絶賛しました。
※180g重量盤、Gatefold仕様
ユニバーサル・ミュージック/IMS

Mozart said of C.P.E. Bach: "He is the father, we are the children. Those of us who know anything at all learned it from him ... What he did would be considered old-fashioned now; but the way he did it was unsurpassable." C.P.E. Bach might seem an odd choice for pianist Marc-Andre Hamelin, who is known for his readings of virtuoso repertory (although he has also played plenty of Haydn, who also admired C.P.E.). His works are accessible to a moderately talented amateur pianist, but Hamelin captures something of the elusive essence of C.P.E. Bach, of what Mozart was getting at. Hamelins crisp, sharply etched readings convey the way Bachs structures were built on melodic shape. There are a few of the wild experiments listeners may expect from C.P.E.; hear LAly Rupalich for a modulation that would not be duplicated for another century or so. These are mostly in the fantasias, which the album includes in addition to the promised sonatas and rondos. In the more conventional sonatas, Hamelin brings interest to the music throughout. If two discs worth of C.P.E. Bach sounds like a lot, the variety in Hamelins hands does not flag, and the album has notched strong commercial success that even with Hamelins celebrity might not have been expected. There are other ways of approaching C.P.E.s music, but Hamelins crisp playing often brings out the humor in these works that may hitherto have been unexpected. Hyperion provides excellent sound from the acoustic queen of North American venues, Mechanics Hall in Worcester, Massachusetts. Some of these pieces would have been played on a harpsichord or other instruments, but among piano readings, its hard to imagine one thats more engaging.