まさに21世紀風。
ペリアネスがスペイン・ピアノ音楽最高峰の「ゴイェスカス」を
フレッシュに再現!

ファリャやモンポウなどスペイン系ピアノ音楽紹介に力を入れるペリアネスがグラナドスの「ゴイェスカス」に挑戦。

全6曲から成る組曲「ゴイェスカス」は1911年の作。アルベニスの「イベリア」とならびスペイン・ピアノ音楽の最高峰とされ、描写的かつ煽情的な音楽を独特な民俗的イディオムと最高度の難技巧で表現されます。グラナドスは18世紀末の純スペイン的な時代と文化に愛着を持っていたとされます。「ゴイェスカス」はまさにその時代に生きたゴヤの絵画の世界、ラテン系ならではの情熱的な愛と、その甘美さのうちに漂う死の匂いを絶妙に描いています。

スペイン人ペリアネスはゴヤの世界を熟知し雰囲気の表現も自然ながら、ことさら悩ましさを強調することなくピュアで高貴な世界を描いています。後で作られた「わら人形」もしっかり収録、生命力抜群でカラっとした快演を繰り広げます。
キングインターナショナル

発売・販売元 提供資料 （2023/12/18）

The Goyescas of Enrique Granados are a suite of six pieces plus a seventh of similar inspiration, El pelele, that is often performed with the set (as here by pianist Javier Perianes). These are technically difficult pieces, surely among the heights of the Spanish piano repertory. The Goyescas were inspired by the art of Francisco Goya, but only two works -- the tenebrous "El amor y la muerte" and El pelele -- can be traced to specific Goya works. Both the performance by Javier Perianes and the excellent notes by Claire Fraysse illuminate why this is not the problem it might seem. Goyas paintings captured a whole milieu, forming a picture of what might be called hip Madrid society around 1800; both Goya and Granados, in Fraysses works, were fin-de-siecle artists. Granados pieces also have a stream-of-consciousness quality, seeming to tell a story even when the story is not there. It is this quality that is captured in Perianes playing, which is not only technically confident but also moves forward as if animated by buried thoughts. Sample the second Goyesca, "Coloquio en la reja," which has the flavor of a conversation at the window, even if one does not know what is being talked about. If it wasnt based on an actual Goya painting, it could have been, as it were. Perianes is brilliant when he needs to be, but it is the small subtleties that put this performance across. There are plenty of performances of the Goyescas, many of them Spanish, going back to that of Alicia de Larrocha, but this one has what it takes to stand out. ~ James Manheim

Rovi