エルレバッハ: 作品集

バッハを準備した世代の隠れた重要人物、その存在感を強くアピールした名手揃いの1枚

フィリップ・ハインリヒ・エルレバッハは17世紀半ば、マラン・マレやコレッリらと同世代のドイツ中部の作曲家。テューリンゲン地方ルドルシュタットの宮廷に仕え、1714年に亡くなるまで膨大な作品を残しながら、その大半は焼失の憂き目に遭ってしまいました。しかし残された作品はどれも輝かしい魅力を放っており、とくにシュッツとバッハの間をゆくような教訓的アリアの数々は、複数のヴィオラ・ダ・ガンバを伴奏に使ったドイツ17世紀型のアンサンブルを従えながら、独唱が伸びやかな旋律美でドイツ語詩句を歌い上げてゆく逸品揃い。ヴァイオリンとヴィオラ・ダ・ガンバが対等に立ち回るトリオ・ソナタの数々も独特の魅力に満ちています。このアルバムは、カフェ・ツィマーマンとしても録音多き名手たちをはじめ、撥弦奏者にアルゼンチン出身のエドゥアルド・エグエスも加わった俊英揃いの布陣だからこその息を呑む名演になっており、エルレバッハという作曲家の存在感に注目が集まるきっかけにもなりました。お求めやすくなった今、改めて聴き込みたい名盤です。
ナクソス・ジャパン

When it rains, it pours: barely have we gotten to shake the hands of neglected seventeenth century Baroque composer Philipp Heinrich Erlebach through Akademie fur Alte Musik Berlin's outstanding collection Ouverturen fur die Hamburger Oper when we are introduced to an all-Erlebach collection, Philipp Heinrich Erlebach: Zeichen im Himmel. Appearing on Alpha Productions, Zeichen im Himmel features baritone Victor Torres with the period instrument ensemble Stylus Phantasticus in seven lieder of Erlebach, in addition to three chamber sonatas (really, suites) to break up the action. The element of Erlebach that made his overture on the Hamburg opera disc so exciting was his surprising sense of syncopation and "jamminess." That is likewise to be found here, particularly in the lied Schwaches Herz, which even has a "hook" reminiscent of what one might encounter in pop music. For purposes of usefully describing what this music sounds like, one wants to strike a comparison between Erlebach and other music of his time. While there is a vague resemblance to the somewhat later, and French, music of Jean-Philippe Rameau, no obvious similarity to Erlebach seems fitting; his entry into our understanding of the Baroque yields a "new" wrinkle. All of this music is resplendent in rhythmic brio, and Erlebach has an appreciation for the effectiveness of the descending harmonic line, later to become a favorite device of Johann Sebastian Bach and, through him, in pop music as well. As in the United States "experts" are constantly reminding us that the Americas are sort of the eminent domain of tied-over-the-bar syncopation, that an obscure German composer achieved the same end five centuries ago makes for a rather sobering realization. Victor Torres is a fine singer and has the sense to deliver the vocal lines and text without resorting to a voice that is obviously "formally trained." Stylus Phantasticus does a great job of realizing the continuo parts and filling out the music in a loose and flexible manner. If one seeks Baroque music that you can bob your head to, then Alpha Productions' Philipp Heinrich Erlebach: Zeichen im Himmel is the place to go.