(2CD) 拉威爾: 鋼琴獨奏曲全集 尚-艾弗藍.巴佛傑 鋼琴 Jean-Efflam Bavouzet / Ravel: Complete Works for Solo Piano

2025年5月份留聲機雜誌編輯推薦最佳新片之一

 

1875年出生的拉威爾在1920到30年代被譽為是法國在世的最偉大作曲家 – 這是一個非常傑出的成就, 尤其是考量他當時在巴黎極端保守的音樂菁英們的阻礙下一路面對的困難(他曾被巴黎國立高等音樂舞蹈學院退學兩次). 他獨特的音樂風格, 結合古典形式和印象派的和聲, 讓他的作品很容易辨認出來. 與其他人相比, 非常自我批評的拉威爾是一位作曲緩慢而且認真的作曲家, 但他相對少量的作品全部都仍保留在鋼琴曲目中並經常的被演奏與錄製. 鋼琴是拉威爾的第一件樂器, 雖然他自己不是一位演奏名家, 但他成功的寫過一些鋼琴曲目中最技藝精湛的作品, 顯示出他非常的膫解這種樂器並且能達成他真正想要的聲音與效果. 他為自己的大部分鋼琴作品配上管絃樂器, 這對演奏家形成另一個挑戰: 一旦聽過拉威爾配器的作品之後, 這一定會對原作品的認知產生影響(理所當然的, 這對聽眾也是一樣的). 巴佛傑指出:"我完全認同拉威爾的觀點, 一位作曲家不需要有很深的造詣才能寫出好的音樂. 此外, 無疑地由於他謙虛的個性, 拉威爾很少用第一人稱向我們表白. 他只有在非常少數的場合親密的和我們表露內心. 在這些特殊的時刻, 我們對這位音樂巨人的景仰, 對他的智慧與優雅的寫作風格, 對他的完美比例, 會被淹沒在一股無法抑制的情緒浪潮中".

 

Born in 1875, Ravel was fêted during the 1920s and '30s as France's greatest living composer – a remarkable achievement considering the obstacles placed in his path by the ultra-conservative Parisian musical elite of his time. (Ravel was expelled from the Paris Conservatoire twice!). His unique musical style, combining classical form and impressionistic harmony, makes his work immediately recognisable. Compared to others, Ravel, immensely self-critical, was a slow and conscientious composer, but almost all his relatively small output remains in the repertoire and is performed and recorded regularly. The piano was Ravel's first instrument, and although he was no virtuoso himself, he successfully composed some of the most virtuosic pieces in the repertoire, reflecting his extraordinary understanding of the instrument and exactly what sounds and effects he wanted to achieve. He orchestrated a significant number of his piano works, which presents another challenge to the performer: once she or he has heard Ravel's orchestration of a work, this must of course influence one's perception of the original. (This is equally true for the listener, of course.) Jean-Efflam Bavouzet notes: ‘I subscribe completely to Ravel's idea that a composer does not have to be profound in order to write good music. And furthermore, owing no doubt to his modest character, Ravel rarely addresses us in the first person. He does not confide in us intimately except on the rarest occasions. At these exceptional moments, our admiration for this musical giant, for his intelligence and elegant style of writing, for his perfect proportions, give way to a wave of emotion that is difficult to contain.'