Schumann: Faschingsschwank aus Wien
Schoenberg: 6 Little Pieces
Ravel: Valses nobles et sentimentales
Korngold: Piano Sonata No.3
Alasdair Beatson (piano) (Pentatone)
(scroll down for English review)
碟名是「來自維也納」，四位作曲家，兩位是維也納人（荀伯格及康高特），兩位（舒曼及拉威爾）以維也納舞曲（尤其是圓舞曲）去想像他們眼中的維也納。
另一種歸類，就是荀伯格《六首鋼琴小小曲》（軌六至十一）以及拉威爾《高貴與感傷圓舞曲》（軌12至19）是較短促的小品集，而舒曼《維也納狂歡節》（軌一至五）及康高特《第三鋼琴奏鳴曲》（軌20至23）的曲式較大型。
這碟我其實較喜歡舒曼及康高特，Beatson在舒曼的節奏感充裕但又不會太誇張，琴音在溫柔時帶歌唱感，強勁時仍能保持圓滑。此外他也會自己將部份和弦以琶音演奏，效果不俗。至於康高特這首奏鳴曲，熱鬧的氣氛和舒曼頗為接近，但我覺得最有趣是康高特試圖用舞曲，融入一首20世紀的鋼琴奏鳴曲之中，卻又不會把自己趕進新古典主義的窮巷，雖不是段段精彩，卻是在這碟另外三首較出名的作品以外，值得認識的樂曲。
This recital by Alasdair Beatson paired two Viennese composers (Schoenberg and Korngold) with two composers (Schumann and Ravel) imagining Vienna by its dances, especially the waltz. You might also pair Schoenberg’s Six Little Pieces (tracks 6-11) with Ravel’s Valses (tracks 12-19) as two sets of miniatures, while Schumann’s Faschingsschwank aus Wien (tracks 1-5) and Korngold’s Third Piano Sonata (tracks 20-23) were works of a larger format.
Indeed I preferred the Schumann and the Korngold. In the Schumann Beatson’s rhythm was pronounced without too much exaggeration. He played the softer spots with much cantabile while big chords retained a rounded tone. At times Beatson chose to appreggiate chord and it was done with good taste.
The Korngold sonata’s boisterousness was an excellent bookend to the Schumann. But what was so special with that piece was Korngold; trying to write a 20th century piano sonata using Viennese dances. Yet he got away without resorting to the clichés of neo-classicism. I won’t say it’s a masterpiece but I found it more exciting than the other three better-known works on this well-curated album.