Schubert: Piano Sonatas D840, D960
Jean-Marc Luisada (piano) (La Dolce Volta)
(scroll down for English review)
路易沙達三年以來的新錄音，舒伯特奏鳴曲亦是他之前未錄過的。重點雖然是D960最後奏鳴曲，但我為的是D840「遺物」奏鳴曲（軌一至二），因為我聽得不多，也沒在現場聽過。有此名稱，因為舒伯特只完成了兩個樂章（就像《未完成》交響曲），之後兩個樂章只寫了一點。雖然有作曲家完成了它們，但路易沙達這裏只彈舒伯特親筆的兩個樂章。
我較着重「遺物」奏鳴曲，不代表這個錄音的價值就在那兒。不以舒伯特著稱的路易沙達，卻令我有新發現，倒不是極端速度、模倣古鋼琴或早期鋼琴這些較顯淺的，但又真的是用現代鋼琴才展現到的：路易沙達將觸感提升為詮釋一個極重要環節。他把音符敲出來、還是撫出來，便已把音樂的意義表達出來，而在不同的觸感下，他仍保持到非常悅耳的發音。
「遺物」奏鳴曲他的觸鍵較傾向敲擊，給我一種較孤高憤慨的感覺。還以為最後奏鳴曲（軌三至六）他會延續這種彈法，因為見他第一樂章的20分鐘演奏時間，算是稍慢，但彈到出來卻是非常流動（弱音時）甚至洶湧（強音時），這也是觸感之功，他毋須放慢，而靠手指撫出豐滿聲音，和之前的「遺物」奏鳴曲是另一個音色，甚至是另一種感情。到第四樂章，當其他鋼琴家只求快快彈完，路易沙達的細緻發音卻像下個故事的開始。
This isn’t just Jean-Marc Luisada’s first recording in three years but also his first solo Schubert album. I chose to hear this for the D840 “Reliquie” Sonata because I haven’t heard it a lot, but that doesn’t mean that’s what the merit of this CD lies.
I never expected Luisada could be such an exemplary Schubert interpreter. I think the magic lies in his meticulous articulation. He doesn’t have to resort to extreme tempi or awkward phrasing to make his point, a hammered tone or a caressed tone says it all. But in all touches Luisada always backed them up with a sweet tone.
In the Reliquie Sonata his articulation was more of a hammered nature, rendering a very agitated but lonesome image. I thought he was going to play D960 in the same manner but he brought out streams (when in a low volume) or torrents (loud volume) of sound. The 20-minute play time is deceptive, it’s anything but slow and it’s Luisada’s lush tone filling out the time. It’s an entirely different tone from Reliquie, perhaps that means a different sentiment as well. Also notable is the finale where most pianists would just rush to the finish line. With his unique articulation Luisada seemed to be reciting the beginning of a new story.