Schumann: Violin Sonata No.1
Beethoven: Violin Sonata No.9 “Kreutzer”
Franck: Violin Sonata
Renaud Capuçon (violin), Martha Argerich (piano) (DG)
(scroll down for English review)
連卡普森（小提琴）也被挖到DG去了，第一張唱片是他今年在自己擔作藝術總監的普羅旺斯復活節音樂節中，和阿嘉莉殊一場演出的錄音。舒曼《第一小提琴奏曲》（軌一至三）卡普森自言當年也是聽阿嘉列莉在1980年代和甘祈頓的同曲錄音，阿嘉莉殊在這裏又真的像盲公竹，引領卡普森進入本應專屬於鋼琴家的舒曼世界。作曲本身太像將鋼琴旋律分一些出來給小提琴，但阿嘉莉殊的搶板（伸長縮短），確實不會是小提琴家想像得到和敢做的。
阿嘉莉殊也和甘祈頓錄過貝多芬小提琴奏鳴曲全集，卡普森自己也和Frank Braley錄了，並和他一起在香港演奏過。不過這首《克羅采奏鳴曲》（軌四至六）我看又是阿嘉莉殊話事，我印象中的卡普森是不敢這麼犧牲小提琴的音色去衝的。最值得注意是第二樂章的變奏曲，乍看演奏長度還是標準的，但阿嘉莉殊將快的變奏和慢的變奏都用上很極端的速度，反而為小提琴家解決了是否應該用同一個速度的問題，而效果我覺得是很好聽。
法朗克《小提琴奏鳴曲》（軌七至十）本來是鋼琴比小提琴還難的作品，而阿嘉莉殊在五十年來跟小提琴家、大提琴家及長笛家都錄過這首作品，真的是她認第二，無人敢認第一，包括小提琴家。相比起貝多芬，阿嘉殊莉就沒那麼搶及急了，小提琴和鋼琴都是想鑽深一點，而不是單純想快或大聲。
以DG的發佈，之後的卡普森錄音好像都是以普羅旺斯的現場錄音為主，但如果有他和（這刻）同在DG的周善祥的莫扎特小提琴奏鳴曲全集就好了。話說幾年前薩爾茲堡莫扎持週安排卡普森和普萊斯勒一起合作莫扎特小提琴奏鳴曲全集，但老人家取消了演出，結果換成周善祥，兩人合作得很愉快。
（剛想起來，2008年於東京看過阿嘉莉殊和卡普森兄弟合作貝多芬《三重協奏曲》，杜達美指揮委內瑞內西蒙波利華青年樂團。）
After so many years at EMI or Erato, Renaud Capuçon was finally snatched to DG. This first release is a live recording with Martha Argerich, from this years’s Aix-en-Provence Easter Festival, of which Renaud Capuçon is its Artistic Director.
Capuçon admitted it was Argerich recording (with Gidon Kremer) of Schumann’s Violin Sonata No.1 (tracks 1-3) that introduced him to this rarely-played work. Here Argerich guided Capuçon into the world of Schumann which almost belonged to pianists. The audacious rubati would hardly be conceivable to violinists, although this work seems too inclined to the piano.
Argerich also recorded the complete Beethoven violin sonatas with Gidon Kremer. Capuçon also set down his set with Frank Braley so both are well versed in the Kreutzer Sonata (tracks 4-6), Still Argerich was taking the lead, especially in the variation second movement. Ostensibly the play time is within normal standard but Argerich took extreme tempi in both the relaxed and vigorous variations, thus solving the age-old dilemma that whether the violinist should take a regular pulse throughout the variations.
Argerich can also claim her expert status of the Franck sonata (tracks 7-10), as she recorded this work with violinists, cellists and flautist (James Galway). But contrary to my expectations Argerich didn’t rush her way through, allowing herself and Capuçon space to dig deeper instead of just faster and louder.