le frisson™的音乐

肖邦的作品长久以来被过多的演奏者所关注。肖邦和莫扎特一样，极其容易暴露出琴师的弱点，技术上的难度自不必说，但关键是传递出来的情感(emotional footing)，虽然19世纪的浓妆艳抹和“个性化”演奏已经不再风行，但糟糕的演绎还是多得一塌糊涂。 所以很高兴听到这样一位harmony和melody并重的音乐家。肖邦的旋律线固然是不世出，但其音乐的关键还是harmony的奇崛。而这种奇崛往往为宛转的旋律和后世所谓“浪漫”和“抒情”的臆想而遮掩。Harasiewicz不故作惊人语，但并不四平八稳，实际上他的节奏转换往往非常微妙，保持一种雍容的古典时代气质，不甜腻，不谄媚，甚至避免让肖邦听来有“柔弱”的感觉。比如他的Impromptu No.4。 音色之好，完全超出我的想象。除了Richter、Gavrilov、Lupu、Perahia、Brendel还有Pollini，我没有听过比他音色控制更好的。除了音色，力度也非常不一样。他力度的变化幅度非常大，从轻到重都仔细雕琢，低音部分不是砸出来的，harmony永远清晰。在这一点上我觉得他和Pollini有点相通，但是Pollini后来似乎有Brendel的问题：反向过度演绎到有点寡淡。Harasiewicz则完全没这个问题，在外拓和内擫之间取得一种平衡。

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I've got to confess I don't worship Pollini as some others do. But in the last 3 sonatas of Schubert Pollini is indisputably a master musician. Pollini's one of the few pianists who play out all the notes without jamming them together. The semidemiquavers come as semidemiquavers, each invested with a distinct quality. Try the start of the 1st movement of D958. The stormy passion is all the more striking, because it's executed with such precision and determination. Each melodic line is spun out without haste, yet the spacious, vast soundscape of Schubert never loses for a second its mesmerising quality. Some might find him slightly more detached than is palatable. But I believe no other living pianist is able to inform his/her playing of these highly romantic works with such dignity. Majestic progressions alternate with wistful childplay. The only serious competition comes from Murray Perahia's recent Sony set & the great Richter's live recordings on the budget Regis label. But even those two do not quite match Pollini in his transcendental techniques.

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I'm unabashedly biased in my review of this box set. Schiff has fundamentally changed my view of the first Viennese School through his recordings & live performances of the works of Haydn, Mozart, Beethoven & Schubert, amongst others. The defining qualities of his playing are the limpid tone and thoughtful phrasing. The bass line is more prominent than you'd expect. This set represents his earlier take on Mozart, and he has since substantially revised his thinking & playing. Last summer he gave an all Mozart recital in the Royal Albert Hall. The programme included K331 and K310. In 'Alla turca' he prompts the listener rethink both the bass line and the all-too-familiar melody, in this case more subdued than elsewhere. In this set, the same sonata doesn't take a dramatic departure from accepted wisdom. He plays on a Steinway, using pedalling only sparingly. The sound is slightly brittle compared to that of his most recent performance on a Boesendorfer. So why is this 'Boesendorfer coup' relevant to the set in question? Because the sound of a Boesendorfer comes with a softer, warmer feel of ambience. If for some, Schiff's playing hasn't evolved that much, the sound world conjured up by the new instrument is totally mesmerising and far superior to the dry, closely miked sound of the current set. That said, Schiff's clarity of vision in this set is astounding. He has absolute mastery of the overarching structure of these pieces without losing sight of every single detail. Critics tend to favour Mitsuko Uchida's Philips set. I find Uchida's dynamics a bit restrained. Schiff's lightness of touch signficantly increases the contrast without sidestepping the classical idiom. Although I won't hesitate to recommend this set I still secretly hope that he will record Mozart's sonatas again on his beloved Boesendorfer.

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I have been to two of ABQ's live performances in London, both featuring Beethoven's quartets. Recently the Takacs have received rave reviews for their Beethoven cycle, which are admittedly better than any previous version on the market. But that's a different story. I've heard the Takacs recording on a few occasions & have been reasonably impressed by the passion invested in the playing. If you want to be overwhelmed, the Takacs is a safe bet. But what fascinates me about the ABQ set is the grit, the unevenness they manage to preserve in their playing. They don't attempt to 'prettify' Beethoven's music, which sometimes doesn't to please (e.g., Grosse Fuge Op.130). Although not lacking in surface polish, their playing has more of a rough edge which befits Beethoven's revolutionary approach. By comparison ABQ's treatment of Mozart is considerably different.

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