ラモー: 新しいクラヴサンのための組曲、ドビュッシー: 映像第1集より第2曲《ラモーを讃えて》 (+Catalogue 2015)

音の魔術師アレクサンドル・タロー。様々なリリースを重ねている彼ですが、やはり、タローのピアノによるバロックは格別。ラモーとドビュッシーを並べるというプログラムにもまたセンスを感じる1枚。
キングインターナショナル

Few artists have explored the avenues Alexandre Tharaud opens here, and what is novel is not just that Tharaud plays Rameau on the piano -- his inclusion of Debussys Hommage a Rameau, from Images, Book I, reminds listeners that this has been done before -- but that he completely rethinks how to go about it. His Rameau playing cannot be described either as Romantic-pianistic or as historically oriented. Rather, Tharaud is informed but not restricted by historical performance approaches, with which he begins as a basis but to which he adds pianistic touches in a successful effort to get at the essence of Rameau as it has come down to listeners today. He adds judicious pedaling to replicate the limited but distinct resonance of the harpsichord, and he brings out the textures of individual pieces with pianistic articulation. The result is a performance that brings out the evocations intended by some of Rameaus movement titles; LEgyptienne, from the Suite in G major of the Pieces de Clavecin, has no Arabic inflections but conveys the dance motions suggested by its subject.