Bach: English Suites No.1-3
Vladimir Ashkenazy (piano) (Decca)
(scroll down for English review)
阿殊堅納西又一張巴哈新錄音，這次是《英國組曲》第一至三首，但和以往《平均律》、《法國組曲》等集數，一出就全集不同，這次只推出了三首，加上這個錄音其實是2019年4月錄製，隔了兩年半，恐怕不會錄完四至六了。
之前沒有細心聽阿殊堅納西的巴哈，今次聽的第一感覺是有點平凡，速度說快不快說慢不慢，音量及觸感保持相同程度。但很快就發覺，他的發音倒是很接近古鍵琴發音的「要求」，說的當然不是聲音像，而是觸鍵當刻有力，又能夠持音，適度的連奏。雖說是接近，但不代表我覺得這就是最佳或理想，因為鋼琴有其特色及可能，我只不過是想提出一個和「偽古鍵琴」相反的例子。
詮釋上也免除了造作，或者都與觸鍵及速度有關，因為兩者加起來，令我覺得毋須再加添甚麼。我最大保留是三首德國舞曲（軌二、12、20），阿殊堅納西當它們是精神翼翼的快速舞曲來彈，我覺得即使不用減慢速度，但也應該彈出較平靜或憂愁的感覺，以求和之前的前奏曲及之後庫蘭特舞曲作對比，否則就像連續三首快板那樣。
此碟我最欣賞是三首薩拉班舞曲（軌七、14-15、22-23），阿殊堅納西的速度比一般人快，但我完全不覺得急，因為這樣每一句變得較長，從而表現到哀而不傷的情感。此外，第二及三曲的「裝飾音版」問題，他是原曲（軌14、22）及裝飾版（軌15、23）都全彈重覆，即是AABBCCDD，而不是古鍵琴家多數選擇的ACBD。由於爽快的速度，全彈重覆一點都不沉悶，更神奇的是，同一個速度，阿殊堅納西在原版令我覺得「不添加裝飾音已是圓滿樂曲」，在裝飾音卻令我覺得「巴哈的裝飾音加得剛剛好，不用再加了」。
Here’s another Bach album from Vladimir Ashkenazy, but I’m concerned if he’d complete the set, as this recording was made in April 2019. If the Fourth to Sixth Suites are already in the can, why didn’t Decca release them now, like all previous Ashkenazy Bach recordings?
I haven’t previously given much attention to the series, and while listening to the first Prelude, I thought the tempi and articulation to be quite unchanging. But then I realized, this is perhaps the closest one could get of reproducing the harpsichord touch on the piano. The initial attack of the notes has a slight edge, but the notes are properly held, ensuring a pleasant legato. By no means I’m suggesting that this is the ultimate Bach piano sound, but this is a good example against what I term “pseudo-harpsichord” playing so common among Bach pianists.
The interpretation was also natural, free from exaggeration and indulgence. This may also be related to the articulation and tempo, because I felt that nothing more needed to be said. My only reservation, or rather opposition is that Ashkenazy played the Allemandes (tracks 2, 12, 20) as quick and bouncy dances but in my view Bach’s allemandes should be melancholic but flowing.
What I like best are the Sarabandes (tracks 7, 14-15, 22-23). Ashkenazy’s tempi were quicker than most, pianists and harpsichordists included. As a consequence, the phrases were longer which resulted in a very dignified sentiment. In the Second and Third Suites, he played all the repeats of the original Sarabande (tracks 14, 22) then the embellished versions (tracks 15, 23) with all repeats. Strangely, at the same tempi, the original struck me as “it is good on its own and requires no embellishments”; but the embellished version sounded as if Bach’s embellishments were so adequate and no further embellishments should be made.