D.スカルラッティ: ソナタ集

心震わす装飾と連打、繊細な陰影
スペインの名手ハビエル・ペリアネスによる
ドメニコ・スカルラッティ

ハビエル・ペリアネス。1978年スペインに生まれ、アリシア・デ・ラローチャやジョゼップ・コロンらにも薫陶を受けた、スペインを代表するピアニストです。2006年にモンポウ作品でharmoniamundiからCDデビュー。繊細な陰影、透明感のある水のようなきらめきをたたえた音色と、情熱的なリズムセンスをあわせもち、ソロから室内楽、協奏曲と活躍しています。このたびペリアネスが録音したのはドメニコ・スカルラッティ。ドメニコ・スカルラッティは自筆譜などがほとんど残されておらず、なぞに包まれた部分も多い作曲家ですが、抜きん出た鍵盤奏者であったことは明らかで、当時の最高権力者たちに寵愛されました。ドメニコの音楽と演奏は、そうした権力者たちの独占的かつ贅沢な喜びでありました。ペリアネスの演奏は、素晴らしく美しいサロンでごく限られた人、あるいは自分だけのために弾いてくれているような、親密さに満ちたもの。繊細な装飾や連打に心震わす音楽性とセンスが光っています。と思うとリズムが躍動する部分では、ファリャかと思ってしまうくらいに情熱が躍動します。ドメニコの音楽の多様性と先進性に驚かされる1枚です。ピアノの音色も極上に美しく収録されております。
HARMONIA MUNDI

The world of Domenico Scarlatti sonata performances is split between fully pianistic readings, including those of his great champion, Vladimir Horowitz, and stricter historical readings on the harpsichord. Scarlatti is known to have played early fortepianos, so piano readings are certainly plausible. It is hard to know what a truly historical performance of Scarlatti would sound like; he played, as annotator Frederic Gonin explores in the booklet (the physical version of the album is recommended), for small groups of nobles, and his scores dont have interpretive marks. The style chosen here by pianist Javier Perianes may represent a useful middle ground. He plays a Steinway piano, nicely recorded at the Leibniz Saal of the Hannover Congress Centrum, and he exploits its capabilities. Yet these are not heavily pianistic versions. Perianes offers a rather dramatic program, with the majority of the pieces in minor keys (most Scarlatti sonatas were in major), and he chooses several of the so-called flamboyant sonatas, with especially complex harmonies and varied textures. There is a lot of flair and even wit. Yet he does not lay on the pedal. He achieves articulation by means of texture (he has a really impressive legato that equals Horowitzs) and a bit of rubato that may seem anachronistic but works expressively. Sample the repeated notes in the Keyboard Sonata in D minor, K. 141, which have a rather chilling precision. His program breaks up the more challenging sonatas with simpler ones, to fine effect, and there are several pairs of sonatas in the same key; Scarlatti may not have intended them as pairs, but no doubt his programs varied greatly from day to day. The end result is a rich, even lush program, achieved without the presence of highly Romantic devices. It is a completely absorbing recital that landed on classical best-seller lists in the summer of 2025. ~ James Manheim