ケルティック・エアーズ

バリー・ダグラスの真骨頂!
"ケルティック・アルバム"第2弾!

2014年に発売され大きな話題を呼んだ「ケルティック・リフレクションズ(CHAN 10821)」に続くバリー・ダグラスによるケルティック・チューンのピアノ・アレンジ・アルバム第2弾!北アイルランドの首府ベルファストに生まれ、1986年のチャイコフスキー国際コンクールで優勝した世界的ピアニスト、バリー・ダグラスが、故郷アイルランドやスコットランドの美しい旋律に思いを馳せるこのアルバム。前作では一部の曲にアイリッシュ・フルートが参加していましたが、今作ではさらにスコティッシュ・ハープ、シェトランド・フィドルが加わり、よりケルティックな香りの漂うアルバムとなりました。ピアノ・ファンや美メロ・ファンにはもちろん、ケルト音楽愛好家にも広くおススメできるアイテムです。
東京エムプラス

This is a low-key, middle-of-the-road set of arrangements of Irish folk tunes, and as such, it has no shortage of competition in the market. However, it stands apart from these, and for anyone who likes arrangements straddling the folk-classical line, it may be recommended. The unusual feature is that it's a non-Irish instrument, Barry Douglas' piano, that takes center stage. The arrangements are by Douglas himself, and while they don't vary greatly from one to another, they're quite attractive, setting off fiddle, harp, flute, and tin whistle against the piano in various ways. The album can be listened to for relaxation, but also with closer attention to the ways Douglas reproduces folk ornamentation at the keyboard. The general mood is contemplative throughout, however; you're not going to hear vigorous dances here. But you do get a nice mixture of really familiar tunes and lesser-known items. Sample one of the former, such as "The Minstrel Boy," for a taste of the whole: despite the sentimental mood and the universally known tune, there's nothing hackneyed about what Douglas is doing. The auditorium and studio sound from Cork University fits the project well. Recommended for Irish music lovers of all stripes except the rawest. ~ James Manheim

This is a low-key, middle-of-the-road set of arrangements of Irish folk tunes, and as such, it has no shortage of competition in the market. However, it stands apart from these, and for anyone who likes arrangements straddling the folk-classical line, it may be recommended. The unusual feature is that it's a non-Irish instrument, Barry Douglas' piano, that takes center stage. The arrangements are by Douglas himself, and while they don't vary greatly from one to another, they're quite attractive, setting off fiddle, harp, flute, and tin whistle against the piano in various ways. The album can be listened to for relaxation, but also with closer attention to the ways Douglas reproduces folk ornamentation at the keyboard. The general mood is contemplative throughout, however; you're not going to hear vigorous dances here. But you do get a nice mixture of really familiar tunes and lesser-known items. Sample one of the former, such as The Minstrel Boy for a taste of the whole: despite the sentimental mood and the universally known tune, there's nothing hackneyed about what Douglas is doing. The auditorium and studio sound from Cork University fits the project well. Recommended for Irish music lovers of all stripes except the rawest.