Chopin: Complete Nocturnes
Jan Lisiecki (piano) (DG)
(scroll down for English review)
這已是利謝茲基在DG的第三張蕭邦專輯，他在另一品牌亦錄過協奏曲全集，以一位只得廿幾歲、又不是贏了比賽而被標籤為蕭邦專家的人來說，已經算很多。
從第一首我便覺得勝負已分，可以在這麼弱的音量彈出這麼甜的琴音，已經是能人所不能，打個比方說，我相信此刻還在DG旗下的鋼琴家就有很多做不到。有這種發音的能耐，基本上利謝茲基想怎樣彈也無傷大雅，我覺得他大致的取態頗像阿勞（Claudio Arrau），極其穩定而稍慢的速度，每個琴音恍似不會有半點多餘的力。
假如要雞蛋裏挑骨頭，我會說利謝茲基將強音彈得太強，遠超出蕭邦時代樂器的可能。又或者，節奏拿得太緊。不過，要不是他用無瑕的發音配上這種節奏，又未必有這種平靜安寧的感覺。我會進一步說，不只是他彈得很平靜安寧，而是令我整個人都覺得很平靜安寧。我相信利謝茲基不只會錄更多蕭邦，就連他怎樣彈這套夜曲也將會有演化。假如我有時光機，我真想去廿年後聽聽他會怎樣彈。
This is already Jan Lisiecki’s third Chopin album on DG, and he recorded the concertos on another label, making a total of five Chopin CDs, which is quite a lot for a 26-year-old pianist and one who hasn’t been labeled a Chopin specialist.
To me the game is fixed right from the First Nocturne. If someone could evoke such sweet sounds at such a soft volume, he might as well play the whole set upside down and it won’t bother me at all. I’m sure that most pianists on the current DG roster wouldn’t be able to play like that. Lisiecki’s approach reminded me of Claudio Arrau, whose recordings of the nocturnes also featured impeccable tone production supported by a slow and steady rhythm.
If I must pick on something, I’d say Lisiecki’s fortissimos were too loud, far exceeding the instruments in Chopin’s time. Or the rhythm was too tight. But such rhythm combined with his impeccable tones into a truly serene interpretation. I’m not just saying the playing was serene; my whole being became serene. I’m sure there would be more Chopin from Lisiecki. Also, his Chopin interpretations are likely to further evolve. If I had a time machine I’d take myself to 20 years from now and hear what would his Chopin nocturnes sound like.