很久沒聽Edvard Grieg的piano concerto，記憶中是相對清淡的「輕量級」作品，孰料昨天Michelangeli讓我大開眼界—完全沒料到葛利格鋼琴協奏曲可以這麼帝王相、又歌劇似地戲劇化。
帝王相？歌劇化？這些形容詞似乎和Edvard Grieg八竿子打不著(尤其Grieg雖然寫了幾齣戲劇音樂如Peer Gynt—不是歌劇—，但和義大利浪漫歌劇真的很遙遠)，不過這真的是昨天聽到這錄音的感受；尤其感受越到後頭越強烈，強烈到我突然驚覺，當初現場的觀眾該是多麼摒氣寧神、情緒被牽著走？昨天原本在聽網友推薦的Galuppi奏鳴曲，大概因為是選米開蘭傑裡彈的版，後來YouTube自動接著撥這個協奏曲錄音。
查了一下，這是Arturo Benedetti Michelangeli 1965年在倫敦的演出，由Rafael Frühbeck de Burgos指揮New Philharmonia Orchestra；米開蘭傑里當時已經取消成性，所幸沒取消這場；雖然比速度不輸人，但幾乎從不讓人覺得速度狂飆，而且手快歸快，控制能力與詮釋層次都無懈可擊，從不因速度而詮釋空白或犧牲觸鍵。尤其行雲流水之際總有足夠抒情與空白，抒情不缺之際又從不流於一丁點矯作或刻意，是爆發力與自發性(spontaneity)完足的詮釋。
話說英雄要有寶劍或駿馬，協奏曲在主奏展現自我之餘當然不能沒有好的指揮合作。最完美的境界中，寶劍或駿馬並非附屬於英雄，而是互為對方的延展，而這就是這份錄音給我的感覺：指揮de Burgos與米開蘭傑里合作無間，而且要是沒有這樣的指揮，第三樂章許多高潮不會如此振奮人心、且富麗華美；許多戲劇化的奔馳、過彎與堆疊更讓我想到歌劇—是Andrea Chénier結尾？又或者是Donizetti？音樂聽起來當然完全不像，但那種催逼整個現場熱度的效率(想想小董最會寫的中場前重唱跑馬歌)，著實數度讓我想到義大利浪漫歌劇。坦白說我第一次聽完時的直覺，是我想衝去買這份BBC錄音！(上揚音樂不知還有沒有？)
我後來找了這曲子許多別的版本，聽了一整天，但結果往往是重新回來聽這份錄音。
網路上有些豐富討論，例如Talk Classical論壇、以及Gramophone推薦名單。一天內我聽了許多版本，有些聽得完整，有的看情況挑段，聽到後來也實在有些受不了，才驚覺又重蹈前段時日做其他曲目版本比較時的覆轍，於是罷休。粗略印象包括：
- 比較喜歡的有：Clifford Curzon、Dino Lupatti、Leif Ove Andsnes (但現場應該比EMI版好，EMI錄音室版很多優點，但有時行雲流水到我想叫「停一下好嗎？」)、Kovacevitch/ Davis、朋友蜜蜂搖大師推薦的英年早逝紐西蘭鋼琴家Richard Farrell
- 不太喜歡的有：Radu Lupu、Rubinstein、Cherkassky、Solomon、Gieseking/ Karajan
- Richter一向值得聽，但Kondrashin版的樂團明顯有些笨拙，還是選EMI的Lovro von Matacic/ Monte Carlo National Opera Orchestra好。
- Michelangeli還有Galliera/ La Scala、與Rossi/ RoRAI二個現場，但比不上前面提到的BBC錄音。(印象中Galliera比Rossi好)
- 網友鬆散斷奏大師推薦：Håvard Gimse
Gramophone在2014/6/15從他們的評論資料庫整理出這份推薦，可以參考，雖然Gramophone有時有特定偏好。
Grieg’s Piano Concerto in A minor
A survey of recommended recordings of Grieg’s Piano Concerto
The Gramophone Choice
Coupled with Schumann Piano Concerto
Leif Ove Andsnes pf Berlin Philharmonic Orchestra / Mariss Jansons
EMI 503419-2 (59‘ · DDD) Buy from Amazon
It was the Grieg Concerto that first made the name of Leif Ove Andsnes on disc in 1990 (see reissue below). The interpretation remains broadly the same, except that speeds are now rather brisker. However many times he’s performed the Grieg, Andsnes retains a freshness and expressiveness that always sound spontaneous. That inspirational quality is more markedly perceptible with the new version’s faster tempi, but the expressive flights remain just as broad. In that contrast, he’s firmly supported by Jansons and the Berlin Philharmonic, with playing not just refined but dramatic too in fiercely exciting tuttis. Schumann’s cello melodies are gloriously warm, with textures in both works admirably clear, and Andsnes fully responds to Schumann’s espressivo and ritardando requests.
Though both Stephen Kovacevich (Philips) and Murray Perahia (Sony Classical) are equally spontaneous, they tend not to be quite so free in their expressive flights; EMI’s finely balanced digital sound and the playing of the Berlin Philharmonic are also in this version’s favour. Andsnes also offers slightly faster basic speeds than his rivals; particularly enjoyable is the free-flowing tempo for the central Andantino grazioso of the Schumann, which you’d never mistake for a simple Andante.
Additional Recommendations
Coupled with Saint-Saëns Piano Concerto No 2 Schumann Piano Concerto
Orchestra of Opera North / Howard Shelley pf
Chandos CHAN10509 (79’ · DDD). Buy from Amazon
What a good idea to add to that favourite among LP couplings Saint-Saëns’s most Bachian concerto, No 2. And the pleasure doesn’t stop there. Howard Shelley is one of those musicians who quietly goes about his pianistic (and now conductorly) business without grabbing the limelight except for the odd award, but who is consistently impressive, unfailingly musical and only goes into the studio when he has something to say about a work. That is certainly the case here.
It’s a particular delight to hear a reading of the Schumann as fleet and joyous as this one. These are intimate performances, an effect no doubt enhanced by the fact that Shelley directs from the piano. Intimate but also sharply characterised. And when virtuosity is required, Shelley provides it in spades. Take the finale of the Schumann: textures are wonderfully transparent, the dotted rhythms are perky and precise, and there are plenty of striking colours from the orchestra (which throughout the disc proves itself a fine ensemble, with some particularly outstanding wind-players).
Shelley is just as persuasive in the Grieg, coaxing from the orchestra a real sense of narrative, some lovely oboe-playing and allowing the big tunes due space but never over-indulging them. The concerto’s irresistible yearning quality is well caught too, particularly in the central movement, where he is almost a match for Lipatti. Again, tempi are generally fleet, and Shelley pays attention both to the marcato marking of the finale and its folk tinges without overstatement. These are certainly performances to put alongside the classics.
Technically, the Saint-Saëns is an ideal vehicle for Shelley’s fingery kind of pianism and he is exceptional in the Allegro scherzando, the movement that out-Mendelssohns Mendelssohn. Again, the orchestra is utterly focused. The recorded quality here, as elsewhere, is exemplary.
Coupled with Schumann Piano Concerto
Arturo Benedetti Michelangeli pf New Philharmonia Orchestra / Rafael Fruhbeck de Burgos
BBC Legends mono/stereo BBCL4043-2 (69’ · DDD/ADD). Buy from Amazon
Somehow you feel it must be possible to deliver the hackneyed opening flourishes of the Grieg Concerto with real abandon and impetuosity, to get the orchestra to respond to them with genuine ardour, then for the soloist to combine flow, virtuoso dash, fantasy and noble eloquence and to crown the structural highpoints in a way that lifts you out of your seat. Yet until you hear a performance like this one you may never quite believe it can be done. A sense of joyous rhapsody buoys up Michelangeli’s playing from first note to last, yet everything is founded on a bedrock of high intelligence, taste and natural authority. And I nearly forgot to mention the fabulous tone-colours he draws from the instrument. His slow movement is by turns balmy and ecstatic, and the finale has terrific drive. Scarcely a phrase that does not sound newly minted; never a note that sounds contrived or unspontaneous. And the virtuosity … ! If your hair is not standing on end in the finale’s coda I suggest an urgent medical check-up. Forget the boxy recording and the hissy background. This is a performance that entirely merits the hysterical cheers that greet it.
Coupled with Schumann Piano Concerto
Murray Perahia pf Bavarian Radio Symphony Orchestra / Sir Colin Davis
Sony Classical 82796 92736-2 (60’ · DDD). Buy from Amazon
Murray Perahia admitted to a delight in the “inspirational heat-of-the-moment" of a live recording in his interview with ES in these pages (Gramophone, May 1987). Though there are no claps, coughs or shuffles to confirm the presence of an audience, we’re told on the label that both concertos were in fact recorded live at Munich’s Philharmonie Gasteig during the course of the last two years.
Of the two works, I thought it was the Grieg that was better served by the immediacy and warmth of his response, whether through rhythmic bite in livelier dance tempo or total surrender to lyrical nostalgia elsewhere. Never is there the slightest sacrifice of his customary artistic sensitivity or keyboard finesse. But I was delighted to discover that someone so dedicated to Mozart Beethoven and the light-fingered Mendelssohn in the concerto field could so patently revel in Grieg’s unabashed sentiment and bravura too.
緊緻圓滑奏 