カルク=エーレルト: 無伴奏サクソフォンのための25のカプリースとソナタ

カルク=エーレルトの色彩豊かなソロ・サクソフォンの世界

鬼才サクソフォン奏者ラーフ・ヘッケマ。これまで自身の編曲でバッハのチェロ組曲(CC-72769)、バッハの無伴奏ヴァイオリンのためのパルティータ(CC-72648)、パガニーニの24のカプリース(MDG-61913792)などをリリースしてきました。期待の新譜はジークフリート・カルク=エーレルト(1877～1933)のソロ・サクソフォンのための作品全集です!

カルク=エーレルトはオルガン、ハルモニウム、ピアノの独奏作品を数多く作曲。またワーグナーに傾倒していたことから、ワーグナー・オペラのピアノ、ハルモニウム編曲作品も残しています。

カルク=エーレルトがサクソフォンに出会ったのは1915年、ドイツ軍に動員された38歳のとき。カプリースとソナタ Op.153は1929年に発表しています。サックスのあらゆる技法に習熟するために書かれていながらも1曲ごとのキャラクターはまるで違い、芸術的にも高水準の作品群です。ヘッケマの自由自在なテクニックと情感豊かな表現でこの全集に新たな光を与えてくれます。
キングインターナショナル

Sigfried Karg-Elert is mostly known as a composer of organ music, and he had fans in that field as far afield as the U.S. These saxophone works were troubled by inaccurate editions, and theyre played here in a new one by saxophonist Raaf Hekkema; for Karg-Elert fans the album will be essential, but it is really of interest to anyone. There are hints of jazz (sample the unique "Cubana [in modo frigico], in Phrygian mode"), but Karg-Elert says his intention was to strike new paths that included jazz but were not bound to it. Indeed, there are Baroque dances, theatrical pieces, Bachian essays, and much more, all wrapped up into the composers highly individual language, and most of the music is at the edge of tonality. It would not be going too far to say that Karg-Elert found a unique link between the neoclassic and German modernist trends in the 1920s, and this deserves to be heard. The program flowers at the end into what the composer designated as an "Atonal Sonata" (the works here were all composed together and intended for performance that way), which has a whole new flavor when introduced this way. Hekkema has obviously studied these works well and plays them beautifully, but theyre suited for inclusion on concerts and recordings by others. A real contribution to the slender classical saxophone repertory. ~ James Manheim