プロコフィエフ: ピアノ協奏曲第2番、第3番、ピアノ・ソナタ第7番

2024年のBBCプロムス・デビューを目前に控えたカナダ人ピアニスト、スチュワート・グッドイヤーの最新アルバムは、アンドルー・リットン指揮のBBC交響楽団とのプロコフィエフのピアノ協奏曲第2番&第3番、そしてピアノ・ソナタ第7番という意欲的な選曲です。コロナ禍のパンデミックの頃から企画を温めてきたというこのアルバムで、彼はプロコフィエフの音楽に内在する若々しいダイナミズムと活力を引き出しています。
ナクソス・ジャパン

Pianist Stewart Goodyear has won praise for his Beethoven interpretations, but from the evidence here, he is already well along on a second specialty. Sergei Prokofiev was a virtuoso pianist himself, and many of his keyboard works, none more than the three included here, were frequently played by the great 20th century figures of the keyboard, like Ashkenazy and Horowitz. Goodyear handles with great ease the finger-busting movements like the "Precipitato" finale of the Piano Sonata No. 7 in B flat major, Op. 83. Yet he also catches the grim, implacable quality of that movement that reflects its status as one of the composers War Sonatas. In the Piano Concerto No. 2 in G minor, Op. 16, and Piano Concerto No. 3 in C major, Op. 26, he is equally good, understanding that these pieces had roots in Prokofievs early neoclassic style but also marked his point of departure from that. His passagework is precise and forceful, and the accent-mark-heavy giant cadenza in the first movement of the Piano Concerto No. 2 is a real thrill in Goodyears hands. However, he makes room for the lyricism of the second themes and the slow movements. This album wasnt conceived as a whole; the Piano Sonata No. 7 was recorded in a different location from that of the two concertos. Yet Goodyears strengths run from beginning to end and continue to confirm a major talent. ~ James Manheim