C.P.E.バッハ: ピアノ三重奏曲全集

モダン楽器による初の全曲録音!
C.P.E.バッハのピアノ三重奏曲全集!

3人で5つの国籍を含む多様なバックボーンのメンバーによって2007に結成されたリノス・ピアノ三重奏団は、2015年のメルボルン国際室内楽コンクールで最優秀賞と聴衆賞に輝き、2017年からはロンドンのトリニティ・ラバン音楽院でアーティスト・イン・レジデンスを務めています。

リノス・ピアノ三重奏団が、大バッハの次男、カール・フィリップ・エマヌエル・バッハ(1714-1788)の生誕300周年となった2014年に録音したピアノ三重奏曲全集がドイツのC'Avi-musicよりリリース。ヴァイオリンとチェロを伴う鍵盤楽器のソナタ集として出版されながらも、C.P.E.バッハ自身が時にはトリオ(三重奏曲)、時にはソナタと呼んだ作品で、そのファッショナブルで新しいジャンルの「ソナタ」は、出版当時いずれも大成功を収めています。
また、モダン楽器による全曲録音はおそらく世界初になるとのことです。タムシン・ウェーリー=コーエンによるC.P.E.バッハのヴァイオリン・ソナタ全集(SIGCD 573)のように、モダン楽器によるC.P.E.バッハの体系的な優れた録音がリリースされ始めている現代において、このアルバムもC.P.E.バッハの新しい評価確立に役立てられることでしょう。
東京エムプラス

These two sets of pieces by C.P.E. Bach, reasonably mixed here because its hard to hear any stylistic difference between them, were published in London in 1776 and 1777. The Linos Piano Trio calls them piano trios, but the original titles referred to sonatas for harpsichord or fortepiano (the first set) or keyboard sonatas (the second set) with violin and cello accompaniment. They were, in short, in the mode of Haydns trios except for the last few, where the violin and the cello get a few things to do but never break out independently. The genres origins lie close to those of the musical mass market; the trios were written for middle-class home music-makers in fast-growing London to perform themselves, and they lack virtuoso elements. C.P.E. himself called the group a non- or half-entity, a factor that may have contributed to the trios almost total historical neglect. This said, however, it is typical of this restless composer that he could not resist a few experimental strokes. Listen to the opening Andante movement of the Piano Trio in F major, Wq 91, which is bizarre even by C.P.E. Bachs usual standards. In general, the pieces are in the galant style rather than Sturm und Drang, and theyre quite compact and elegant, giving an idea of what Mozart meant when he said that no one who had listened to C.P.E. could fail to hear how he, Mozart, had been influenced by the German composer. The Linos Piano Trio performs on modern instruments, perhaps less desirable for this repertory (the F major trio mentioned above must have had a truly chilling effect when played on an early fortepiano), but the players give a historically informed performance with no extraneous Beethovenian gestures. A nice find that will please C.P.E. fans and many others.