J.S.バッハ: イギリス組曲

生来のバッハ弾きが奏でる、ピアノによる上質のバッハ

全6曲からなるバッハの「イギリス組曲」は、それぞれが前奏曲と一連の様式化された舞曲楽章で構成されています。「フランス組曲」に比べ、複雑な対位法、技術的なパッセージ、壮大なスケールを特徴とする作品です。
ギリシャ生まれのピアニスト、パパステファノウは近年集中的にバッハに取り組んでおり、今作でも高い技術と確固としたタッチを武器に堂々とした演奏を聴かせてくれます。じつに上質のバッハと言えるでしょう。過去作の録音は以下のように評されています。
「パパステファノウの〈ゴルトベルク変奏曲〉は説明するより体験した方が良い。真の喜びと生来の音楽性の特質を放っている。魅惑的なアルバムだ。」(Gramophone)
「パパステファノウは直感と洞察力の融合において徹底して音楽的であり、彼女の〈フランス組曲〉は同曲のカタログのなかで最も優れたピアノ演奏のひとつに容易にランクインされよう。」(Classics Today)
FIRST HAND RECORDS

Greece is not particularly known as a place with a strong tradition of performing Bachs music, but pianist Alexandra Papastefanou hasnt let that stop her; this 2025 release is part of an ongoing series from her covering Bachs major keyboard works. The English Suites may have been written for an English patron, but they are French suites in all but name, and this genre showcases Papastefanous style well. The First Hand Records label, a small-scale outfit giving performers a good deal of control over repertory and performance, has served her effectively, because her style does not fall into any of the established early music categories. The album is, of course, not suited to those who believe Bach should never be played on the piano, even though Bach was intrigued by early versions of the instrument. Neither are hers are interpretations that seek to make the piano sound like a harpsichord. She is influenced by harpsichord Bach; she uses little pedal, seeking articulation and a good deal of tempo variation as means of expression. Hear the preludes, which reflect the genres improvisatory origins unusually strongly. Her dance movements, too, are flexible in tempo. Yet these are piano versions at the essential levels; she uses the tone colors and the tone durations of piano playing throughout. Papastefanous interpretations are thought out from beginning to end and have a satisfying sense of reflecting a lifes work. Those seeking a fresh take on these Bach classics are directed toward these readings. ~ James Manheim