ベートーヴェンの合唱幻想曲と『テンペスト』にコリリアーノとペルトを組み合わせたグリモーならではの絶妙なプログラミング。

グリモーと、そしてサロネンのDGレーベル移籍第1弾アルバムとなった2003年録音。後の第9交響曲のもととなった『合唱幻想曲』をメインに、バッハのプレリュードを素材にしたペルトの『クレド』、そして『テンペスト』とコリリアーノを加えたグリモーならではの魅力的なプログラミング。
ユニバーサル・ミュージック/IMS

発売・販売元 提供資料 （2023/09/07）

Credo by Helene Grimaud is one of the most effectively sequenced discs ever released. The movement from the hazy postmodernism of John Corigliano's Fantasia on an Ostinato for solo piano and the passionate Romanticism of Beethoven's Tempest Sonata for solo piano, then on through the Enlightenment ecstasy of Beethoven's Choral Fantasia for piano solo, orchestra, and chorus, and culminating in the nihilist excesses of Arvo Part's massive Credo for piano solo, orchestra, and chorus, is musically and dramatically overwhelming. Individually, the effectiveness of her performances is debatable. Is her Corigliano Fantasia melancholy and pensive or slightly narcissistic? Is her Beethoven Tempest individualistically radical or almost eccentric? Is her Beethoven Choral Fantasia with Esa-Pekka Salonen and the Swedish Radio Symphony Orchestra and Swedish Radio Choir brilliantly postmodern or just strange? And is Grimaud and Salonen's Part Credo anything but a metaphor for life itself: mostly boring, sometimes unbearable, and occasionally very beautiful? Taken all together as a single aesthetic act, Grimaud's Credo is nevertheless completely compelling while it's happening, and what more can one ask of a work of art? Deutsche Grammophon's sound has never been more translucent and immediate.

Rovi