Haydn: Piano Sonatas Hob. XVI: 44, 32, 36
Schubert: Four Impromptus D935
Grigory Sokolov (piano) (DG)
(scroll down for English review)
聽這張蘇可洛夫最新出的現場錄音（2018年錄製），是因為主曲目都是我沒在現場聽過他彈的，否則我不想在錄音重溫現場體驗。音樂會於和海頓有密切關係埃斯特哈齊宮舉行，於是頭半就是三首海頓奏鳴曲（軌一至八）。聽過他的拉摩及莫扎特，也算是準確預計到他對海頓的取態會怎樣，但這兩三年間我也聽多了其他鋼琴家的海頓奏鳴曲錄音，古鋼琴及現代鋼琴都有，於是會帶着多一點背景、或者成見去聽蘇可洛夫的海頓。
蘇可洛夫的海頓，令我想起之前聽列翁斯卡雅的莫扎特奏鳴曲。不是因為兩人是同輩的前蘇聯音樂家，而是列翁斯卡雅的簡單，顯出蘇可洛夫太過別扭，主要是在發音之中，他將頓奏彈得太誇張，所有音符不是獨奏就是極獨奏，明顯是在模倣或幻想一種前古典的鍵盤質感出來。不過蘇可洛夫始終是蘇可洛夫，再誇張的頓奏也是粒粒音都好聽，我的側重點是他這種取態，把發音及造句的變化幾乎剷平了。
一到舒伯特D935《四首即興曲》（軌九至12）就確定到，他的發音是刻意為之（或隨心所欲），因為舒伯特就完全沒有這種誇張獨奏，讓音符順滑流動，就算其他鋼琴家彈到很行貨的伴奏，都令人着迷。
我不否認少聽海頓鋼琴作品的，會覺得蘇可洛夫這種彈法吸引，會覺得他彈得生動，但我大膽假設，如他將舒伯特和海頓彈法倒轉才更有趣，因為更能感受到海頓的樸實無華，以及舒伯特在油盡燈枯的日子中，音樂其實還有不少生命力。
This latest CD release of Sokolov’s live recording was that of a 2018 concert at the Esterházy Palace, and naturally the first half of the programme consisted of three Haydn sonatas. The second half was Schubert’s second, and less played set of Impromptus. I listened to this CD solely because I haven’t heard Sokolov play this programme live, or I wouldn’t consider replicating a live experience.
Having heard his Rameau and Mozart, I knew what to expect in Sokolov’s Haydn. But having spent time listening to many Haydn piano sonata recordings (in fortepiano and modern piano) I now have a certain preconception of Haydn and I don’t believe in lionizing Sokolov in everything he does.
Sokolov’s Haydn reminded me of Leonskaja’s complete set of Mozart sonatas that I reviewed not long ago. I made this comparison not because the two pianists are the relics of the post-war Soviet piano school, but because the two approaches are polar opposites. And I obviously prefer Leonskaya’s simplicity, which yielded vast contrasts, over Sokolov’s obsession in rendering all notes staccato or staccatissimo. There isn’t one sour note but my objection is that Sokolov flattened the contours of the music. I must admit, to those who don’t know their Haydn well, such approach might be attractive or invigorating.
Sokolov played Schubert (tracks 9-12) in an entirely different manner. The notes flow and sing, even in figurations that are obviously fillers of the texture. At times I think Sokolov insisted on too much legato. How I wish he could play Haydn as he played Schubert, and vice versa! That way the easy charm of Haydn could better manifest itself and the late music of Schubert could have more vitality over the preconceived notion of death and gloom.