Chopin: Works for Cello
Anne Gastinel (cello), Claire Désert (piano) (Naïve)
(scroll down for English review)
加斯提奈爾這張蕭邦專輯，除了全部三首蕭邦寫給大提琴的作品，另加兩首夜曲（第二、降E大調；第20、升C小調）用大提琴演奏，放在CD的頭尾。我就是被加斯提奈爾演奏的夜曲吸引，因為她的發音樸實無華，沉厚有一點、光輝有一點、開揚感有一點、溫暖的顫動也有一點，沒一處過火。想找尋個人特色及特強感染力，加斯提奈爾可能不是你杯茶。
軌二至五的《大提琴奏鳴曲》，加斯提奈爾沒有刻意跟鋼琴硬碰硬，就連第一樂章的提示部重覆也沒怎樣拉得不同，其實也是接近歌曲的第二及三樂章最有味道。詮釋上我覺得只是平凡，不過至少她在平凡的領域中做到最極致。
全碟最值得發掘是軌六至七的《序奏及波蘭舞曲》，這是蕭邦未去巴黎的青年作品，只顧標榜自己的鋼琴，大提琴就像閒角。不過加斯提奈爾使用了Maurice Gendron的改編，他盡情向鋼琴「搶掠」，令大提琴終於有較合理的表演時間，演奏這個版本的話，此曲其實可以是大提琴獨奏會的必備作品。
This all-Chopin cello recital by Anne Gastinel not only included the three works for cello, Gastinel threw in two nocturnes (played by cello and piano) as bookends. It was the Second Nocturne (track 1) that instantly caught my attention. Gastinel’s tone had a bit of everything: sturdiness, brilliance, breath, and warm palpitation. Nothing was overdone but she’s definitely not for those after an intensive or highly unique tone.
In the Cello Sonata (tracks 2-5) Gastinel chose not to clash with the piano, and her exposition repeat of the first movement wasn’t any different from the first time. Indeed she’s at her best in the song-like second and third movements. It’s an ordinary interpretation, but she did ordinary to its very best.
What’s truly a discovery for me was the Introduction and Polonaise (tracks 6-7). The work was written some time before Chopin’s exile, and he had his mind set on showing his prowess at the piano, obviously one-upping the cello. Gastinel played the Maurice Gendron arrangement, which restores the balance between the cello and piano. Gendron simply took some of the piano’s pyrotechnics and gave them to the cello. What an astounding difference! This work shouldn’t ever be played in the Chopin original, in my opinion.