タカーチ弦楽四重奏団がオールソンと共演!
エルガーとビーチのピアノ五重奏!

これまで、マルク=アンドレ・アムラン、スティーヴン・ハフ、ローレンス・パワーらの強力ハイペリオン・アーティストたちと共演し素晴らしいアルバムを送り出してきた世界最高峰の弦楽四重奏団のひとつ、タカーチ弦楽四重奏団。最新作では、1970年の第8回ショパン国際ピアノ・コンクールで第1位に輝いたアメリカの名ピアニスト、ギャリック・オールソンと共演!
最初期のアメリカの女流作曲家であり、卓越したピアニストでもあったというエイミー・ビーチ(1867-1944)のピアノ五重奏曲と、エルガーのピアノ五重奏曲というインスピレーションと驚きに満ちたカップリング。20世紀初頭の2つの傑作で、オールソンの華麗なピアノとタカーチQの充実のアンサンブルを魅せてくれます。
東京エムプラス

発売・販売元 提供資料 （2020/03/11）

The two piano quintets on this album qualify as neglected, even the repertory work by Edward Elgar, from his chamber music year of 1918, is not so often heard. As for the Piano Quintet in F sharp minor, Op. 67, of Amy Beach, its comparative rarity is a crying shame. When this album appeared in 2020, the work had not been recorded for 12 years, and it has rarely been performed by groups of the caliber of the Takacs Quartet and pianist Garrick Ohlsson, the latter especially sensitive to the musics symphonic dimensions. The quintet opens and ends with unisons or octaves, seeming to take on a distinct structure of its own in parallel with the large classical forms it embodies. The work is certainly influenced by Brahms and seems to quote some of his music but has an often mysterious mood that is all its own. Nigel Simeone writes that it is truly imbued with the spirit of Brahms without ever seeming derivative. The Elgar Piano Quintet in A minor, Op. 84, likewise has a bit of Brahms, and a bit of mystery (it apparently, like other Elgar works, had a hidden program), and the two works, complementary but distinct, make an ideal program. Ohlsson has not lost a step in senior citizenhood, and this music is the bread and butter of the Takacs Quartet. Fine sound from the Wyastone Concert Hall is just icing on the cake. Those who dont know Beachs quintet are urged to seek this out without delay; it is a more distinctive work than her Gaelic Symphony, Op. 32, and Piano Concerto in C sharp minor, Op. 45.

Rovi