モーツァルト: ピアノ協奏曲集 Vol.4

バヴゼの麗しきモーツァルト第4弾
ピアノ協奏曲「第20番」&「第21番」!

フレンチ・ピアニズムの巨星ジャン=エフラム・バヴゼ。ハイドンの協奏曲集(CHAN 10808)に続く古典派協奏曲としてスタートし、レコード芸術の「特選盤」(第1巻/PCHAN 10929)」、英BBCミュージック・マガジンの「コンチェルト・チョイス」(第3巻/CHAN20035)などに選ばれてきたモーツァルトのピアノ協奏曲集。第4巻は、1785年初頭にわずか1ヵ月で書き上げられた2つの協奏曲、モーツァルトのピアノ協奏曲のなかでもとりわけ人気の高い「第20番」と「第21番」を収録。また、タカーチ弦楽四重奏団の創設者でもあり、近年は指揮者として活躍を広げているハンガリーの巨匠、ガボル・タカーチ=ナジとイギリス有数の室内管弦楽団"マンチェスター・カメラータ"による「ドン・ジョヴァンニ」序曲もカップリング。これまでのハイドンやモーツァルトのレコーディング同様、今作でもYAMAHAピアノを使用しています。
東京エムプラス

Pianist Jean-Efflam Bavouzet is one of the more prolific artists on the scene, with major Mozart and Debussy cycles in process, a Beethoven sonata cycle already completed, plus recordings of other music from Haydn to the present day. With this release, the fourth in his Mozart concerto series, he reaches some well-known works. As in previous albums in the series, Bavouzet combines a straightforward sound (he uses a modern Yamaha piano) with the Manchester Camerata, which despite its chamber orchestra name, is not small by the standards of today's Mozart. The recording, in many respects, could have been made by Rudolf Serkin in the 1960s. It has some of the virtues of that particular player, including exceptional sensitivity in the wind passages that carry such excitement of Mozart discovering new textures wherever he went in the concerto form. In other respects, though, Bavouzet is far out of the mainstream, whether on the cutting edge or simply about to fall off the edge remains to be seen. In the Piano Concerto No. 21 in C major, K. 467, he ornaments the piano line heavily; others have ornamented it, but not quite to this extent. Moreover, he fools with the rhythm of the piano line itself. Sample the Andante and see what you think. In the Piano Concerto No. 20 in D minor, K. 466, he is more circumspect, using the common cadenzas by Beethoven. In the Piano Concerto No. 21, he plays cadenzas by Peter Serkin, which are unorthodox, but less so than the ones of his own creation that have appeared on other releases in the series. Bavouzet seems to be arguing that the Mozart piano concertos, which certainly had some kind of an improvisatory element, had more than is generally supposed. Your mileage may vary here, but he gets vigorous and well-controlled support from the Manchester Camerata and director Gabor Takacs-Nagy.