古鋼琴韋伯協奏曲

Weber: Piano Concerti Nos.1 & 2, Konzertstück

Ronald Brautigam (fortepiano)

Michael Alexander Willens / Kölner Akademie  (BIS)

(scroll down for English review)

Brautigam的古鋼琴錄音終於來到韋伯,一碟收齊他三首鋼琴協奏曲,其中第三首沒有依循三樂章的曲式,名稱是較曖昧的《協奏樂章》,日文就更直接的譯做《小協奏曲》。我還記得Brendel錄過《協奏樂章》,至於兩首協奏曲我以前就未聽過。

1810(第一)及1812(第二)的創作年份,令人遐想它們會不會是貝多芬《皇帝》的延續,但韋伯還沒有那麼大野心,小冊子也說韋伯是在寫《第二》前才得到《皇帝》的樂譜。韋伯的鋼琴奏鳴曲是有相當難度,這兩首寫給他自己來表演的協奏曲也有熟練的鋼琴炫技寫法,但我覺得這兩曲現今不受重視,是有道理的,韋伯雖然掌握到協奏曲格式上的要求,但內涵實在太薄弱,鋼琴炫技太長氣,但旋律都不清不楚。兩首之中,我覺得《第二》的第二樂章較值得聽。

《協奏樂章》(軌七至11)就較為有趣,可能是韋伯再不受制於快慢快的格式,而且他更有耐性去鋪排樂思,即使此曲都比兩首協奏曲短,但都令我覺得內容更豐富,抒情及華麗兼備,也可能是李斯特兩首鋼琴協奏曲的先行者。

近月還有一張用原音演奏韋伯作品的錄音:Laurence Equilibrey指揮《魔彈射手》選段。但和那張一樣,這樣協奏曲全集我認為用古樂並不是優勢,反而以音樂的浪漫氣質來說,用現代樂器及樂隊規模其實更適合這些作品。

Brautigam’s fortepiano exploration gets to Weber at last. All three piano concerti on one disc. The unnumbered one shrews the conventional three-movement structure and is called Konzertstück. I knew about Brendel’s recording of it but I have yet to hear the two numbered concerti.

The first concerto was written in 1810, the second in 1812. Such dates make me wonder if they follow on Beethoven’s Emperor. But the booklet specified Weber only obtained the score of Emperor before he wrote his second concerto. Weber’s piano sonatas have certain pianistic difficulties and so are these two concerti written for his own use. But their neglect isn’t unjust as the virtuosic displays are quite empty and long-winded. Among the two, the second movement of the second concerto (track 5) is worth a listen.

Konzertstück has more interesting touches. It’s shorter than the concerti but the contents are richer. I think it’s due to Weber adopting a freer structure and that he took more attention to craft his material. I see this piece as the forerunner of Liszt’s concerti and it is a mixture of brilliance and lyricism.

Recently there’s also a Weber recording in HIP: Laurence Equilibrey’s Der Freischütz (in highlights). In that disc as in this one I don’t think HIP gives us more insight on this music. In my opinion the romanticism of Weber simply demands a grand orchestra.

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