舒伯特:鋼琴奏鳴曲,第16.17號及圓舞曲集 菲利浦．卡薩德 鋼琴 Philippe Cassard / Schubert : Piano Sonatas D845 & D850

舒伯特:鋼琴奏鳴曲,第16.17號及圓舞曲集
菲利浦．卡薩德 鋼琴

舒伯特對鋼琴家菲利浦.卡薩德而言, 有如引用詩人格里爾帕策(Franz Grillparzer)為舒伯特寫的墓誌銘 “這裡埋葬著音樂的瑰寶, 也埋葬了更多美好的希望”. 在前一張錄製過可做為比較基準的這位作曲家的作品後(LDV56), 這位法國鋼琴家將全副身心投入這張新的旅程並且給我們上了抒情主義與優雅的一堂課程. 在此片中有兩首在1825年幾個月內相繼完成, 廣闊而且完全相反的奏鳴曲. 第一首是A大調D845, 是被憂慮, 刺耳與激烈的交談, 和活力的節奏所主宰. 它預告了舒曼的克萊斯勒魂(Kreisleriana Op.16, 1838)的黑暗思想. 但是在某些慢板的變奏中, 我們感覺到像在有幾對跳舞者的維也納沙龍中. 在1825年的夏天, 舒伯特離開維也納到有高山, 農莊, 湖與山谷的鹽湖區(Salzkammergut)旅遊. 奏鳴曲D850散發出他最兒童般的樂趣和他在大自然中身心極度的快樂. 在第四樂章中, 他將牛鈴的聲音, 經過的村落與流行的歌舞, 阿爾卑斯山區約爾德唱法動機(yodelling motif), 和慶祝抵達薩爾斯堡郊區氣勢雄偉的溫特山(Untersberg)山腳下的心情昇華為狂喜的狀態.

For the pianist Philippe Cassard, with Franz Schubert (1797-1828) ‘Music buried a precious treasure, but yet far fairer hopes', to quote the poet Grillparzer's epitaph. After his earlier benchmark recordings of the composer, the French pianist flings himself body and soul into this new odyssey and gives us a lesson in lyricism and elegance. Here are two vast and diametrically opposed sonatas composed a few months apart, in 1825. The first, in A minor, is dominated by the anxiety, harshness and vehemence of the discourse, the vigour of the rhythms. It foreshadows the dark ideas of Schumann's Kreisleriana. And yet, in some of the variations of the slow movement, we seem to be at the heart of a Viennese salon with couples of dancers swirling around. In the summer of 1825, Schubert left Vienna for a hike through the landscape of the Salzkammergut, with its high mountains, alpine pastures, lakes and deep valleys. The Sonata D850 radiates his almost childlike joy, his physical and sensory exultation in the midst of nature. In the four movements, he sublimates the sounds of cowbells, the popular songs and dances of the villages he passes through, and yodelling motifs, and celebrates, in a state close to ecstasy, his arrival at the foot of the imposing Untersberg.