Bach: Piano Concertos BWV1056, 1055, 1052
Maria João Pires (piano)
Michel Corboz / Gulbenkian Orchestra (Erato)
(scroll down for English review)
因為指揮才去聽這張巴哈鍵盤協奏曲唱片，結果還是皮莉斯最為關鍵。三首協奏曲這樣排序很好，先聽兩首短的，最後才是長度等同前兩首，但因為編號最先，所以通常被當成「第一首」的BWV1052。
皮莉斯這裏我最欣賞的，是她的發音繼不是誤解古鍵琴、我會稱為「偽古鍵琴」只得「超頓奏」，但又不會把現代鋼琴的腳踏，用來去彈出「超連奏」的造句。我覺得皮莉斯這種彈法，才算得上用鋼琴模擬得到古鍵琴發音（我不知她有還是沒有），而不是顧爾德那種。聽皮莉斯彈巴哈，我更覺顧爾德的「鬼才」只是在虐待巴哈及鋼琴而已。撇開技術層面及術語，這是個稱得上真善美的演奏。
Erato has just released a mega box-set of just the Early Music portion of conductor Michel Corboz’s recorded legacy that belongs to the Erato or Warner back catalogue. I came to this disc of Bach keyboard/piano concertos for Corboz but ultimately it was Pires that amazed me.
First of all I took credit of putting two smaller concertos in front of the BWV1052, whose length is the sum of those two. Pires’ tone production confirmed my new-found belief that Glenn Gould had the wrong notion of how a harpsichord sounds, and therefore had been disfiguring not just Bach, but also the modern piano by his “clavi-piano” approach. Pires avoided the pitfall of playing in super-staccato which was the common flaw of pianist seeking to emulate the harpsichord without proper study. Nor did Pires take advantage of the sustaining pedal to create a super-legato out on Bach’s phrases. Technique aside, it’s simply beautiful, reposeful, and life-affirming.