Bach. Klavier Musik 3
Вообще говоря, Скотт Росс не относится к числу рекомендуемых мною музыкантов. Помимо этой записи Партит у меня есть 33 диска полного собрания сонат Скарлатти и 7 дисков Куперена. Обе эти записи я считаю довольно слабыми. В случае же Партит - картина совершенно иная. Нужно сказать, что правильную запись Партит я ищу уже очень давно. Помимо Росса у меня имеется 7 клавесинных вариантов, ни один из которых меня по тем или иным причинам не устраивает. Причём Росса я нашёл в интернете в формате мп3 с относительно низким (192) битрейтом, и здесь выкладываю именно эти мп3, в другом виде у меня этих файлов нет. Но именно он, как мне кажется, исполняет Партиты так, как мне бы хотелось их услышать.
Партиты - одно из важнейших для меня произведений для клавира. Интересно, что они относятся к той части баховского наследия, которая была опубликована при жизни Самого - в отличие от других произведений, почти целиком оставшихся в рукописях. В 1731 году он выпустил первую часть «Кlаvierübung», включив в нее шесть партит. Вторая часть «Клавирных упражнений» (1735) содержала Итальянский концерт и еще одну партиту. В четвертую (1742) вошли «Гольдберг-вариации». Отбирая пьесы для издания, Бах предпочитал те из них, которые легче могли получить распространение и вместе с тем не были очень велики по объему: ему было не под силу опубликовать хотя бы первый том «Хорошо темперированного клавира», который распространялся лишь в рукописных копиях. (Т.Ливанова, ИСТОРИЯ ЗАПАДНО-ЕВРОПЕЙСКОЙ МУЗЫКИ до 1789 года, ТОМ ВТОРОЙ)
Форкель пишет об этом издании: «Klavierubung, [ч. I,] состоящая из прелюдий, аллеманд, курант, сарабанд, жиг, менуэтов и других галантных пьес, - любителям во услаждение души... Opus 1. В издании автора. 1731» 7 [BWV 825-830]. Этот сборник содержит 6 сюит 8, первая из которых вышла из печати в 1726 году; остальные последовали за ней одна за другой 9, а в 1731 году они были напечатаны все вместе - это издание привлекло в свое время внимание всего музыкального мира, ибо никогда еще до тех пор люди не видели и не слышали столь превосходных клавирных сочинений. Тот, кто был в состоянии как следует разучить пьесы из этого сборника, мог тем самым добиться успеха в жизни; да и в наше время молодой музыкант может снискать себе с их помощью почет и уважение - настолько они великолепны, благозвучны, выразительны и вечно новы. В недавно вышедшем издании они озаглавлены «Exercices pour le Clavecin». (Ueber Johann Sebastian Bachs Leben, Kunst und Kustwerke, Von J. N. Forkel, Leipzig, 1802)
Bach's Partitas from Scott Ross
1. Partita for keyboard No. 1 in B flat major, BWV 825
2. Partita for keyboard No. 2 in C minor, BWV 826
3. Partita for keyboard No. 3 in A minor, BWV 827
4. Partita for keyboard No. 4 in D major, BWV 828
5. Partita for keyboard No. 5 in G major, BWV 829
6. Partita for keyboard No. 6 in E minor, BWV 830
Bach: 6 Partitas, Scott Ross, Erato 2292-45345-2 (February 3, 1992)
А вот, что пишет по поводу этой записи Дон Зац, сравнивая её с другими известными исполнениями:
I have never heard a recording from Scott Ross that I didn't find
excellent, and his 1988 performance of Bach's Partitas for Keyboard is
no exception. Best known for his immense undertaking of recording all
the Keyboard Sonatas of Domenico Scarlatti for the Erato label, Ross has
an unerring sense of rhythmic flow and pacing that extends from Frescobaldi
and the great Italian baroque composers to the Austro/Germanic masters
including Handel and Bach.
I would like to review the Ross set through reference to the excellent
comparison versions in the heading. This way, readers will hopefully
have a fair idea of the distinctions among the six sets and what to
expect from each.
Gustav Leonhardt needs little introduction. He was one of the early
pioneers of historically informed performance practices and is much
revered for his artistry and inspiration as both keyboardist and conductor.
Any reservations concerning his approach to historical performance tend
to revolve around the theme that he is overly austere with diminished
zest for the vitality and youthfulness of the music he performs. I find
that Leonhardt's austerity is mostly on the surface and that close
listening reveals a wide range of emotional content.
Such is the case with Leonhardt's 1983 performance of the Partitas.
The severe and sharp veneer is certainly present, but Bach's musical joy
is also part of Leonhardt's menu. His performances are informed with an
incisive introspection, excellent detail, concentrated energy, poignant
Allemandes and Sarabandes, and sufficient exuberance in the fast movements.
Concerning the fast movements, Leonhardt often employs rather slow tempos
in order to clarify each muscial line. Ross is distant from Leonhardt's
aesthetics, offering minimal severity and little priority on the detail
of the myriad musical lines. Instead, he is buoyant throughout with
great joy. Tempos are well within the mainstream, and the fast movements
bring an excitement rarely conveyed by Leonhardt.
Edward Parmentier does not enjoy the reputation afforded Leonhardt, but
his Wildboar/Bach recordings are a treasure to many serious Bach record
collectors. Like Leonhardt, his tempos in the fast movements tend to
be slowish. This allows for exquisite detail, and I think it's fair
to say that no version of the Partitas brings out Bach's architectural
splendor as convincingly as Parmentier's 1991 set; his use of hesitations
and the staggering of musical lines is particularly rewarding. At the
same time, I do have a bit of skepticism concerning Parmentier's emotional
investment in this music. Emotional investment is no problem at all
for Scott Ross, as can be clearly heard in his wonderful Sarabandes and
overall inflections. Ross isn't one to make much use of hesitations or
staggering musical lines, preferring a relatively straight-line approach
to the Partitas.
A comparison between Parmentier and Ross is not complete without comment
on the dance elements in the Partitas. With Parmentier's performances,
the dancing nature of many of the movements is largely neglected, while
Ross highlights this feature as often as possible. Essentially, there is
no set of the Partitas as alive to the dance characteristics as Ross's.
Igor Kipnis seems to have been with us forever, offering performances
that dig intently into the human condition. So it is with his 1977
recordings of the Partitas. No other harpsichord version is as penetrating
as the Kipnis, and his set also possesses the greatest degree of variety
in the repeating of sections. Unfortunately, his wealth of ornamentation
can sometimes sound self-indulgent. Although Ross is certainly less
creative with his repeats, they are sufficiently varied through use of
leaner textures.
Trevor Pinnock's 1999 set on Hanssler has much to offer in terms of
exuberance and a totally unmannered delivery, the Ross set being quite
similar in this regard. However, Pinnock does glide over the emotional
depth of the Allemandes and Sarabandes, and Ross always conveys a fine
sense of poignancy in these movements.
There is only one harpsichord set that I favor over the Ross, and it
comes from Kenneth Gilbert in his 1984-85 performances of the Partitas
on Harmonia Mundi. The phrasing is so natural that I feel I'm listening
to Bach play in his home. Given performances that glow with warmth and
understanding, the Ross set must take second place to Gilbert's.
Concerning sound quality, Ross is given excellent sound for the time
period although it is a little shallow in depth. For a truly exceptional
soundstage, the Parmentier and Pinnock sets fill the bill. The Kipnis,
Gilbert, and Leonhardt sets are roughly equal in sound quality to the
Ross.
For those who prefer Bach on piano, there are exceptional sets of the
Partitas from Rosalyn Tureck on Philips, Wolfgang Rubsam on Naxos, and
the one and only Glenn Gould for Sony. Clearly, there is an abundance
of riches for recordings of the Partitas, and Scott Ross presents one
of the best versions available. His life-affirming and vibrant
interpretations should provide many hours of joyous listening to those
who acquire the recordings.
Don's Conclusions: Except for the Gilbert set, the Scott Ross performances
of Bach's Partitas are as good as any harpsichord versions currently on
the market. I don't know if this set will be released in the United
States, but those interested should be willing to search afar to discover
such wonderful readings from the pen of Bach.
Don Satz
Партиты - одно из важнейших для меня произведений для клавира. Интересно, что они относятся к той части баховского наследия, которая была опубликована при жизни Самого - в отличие от других произведений, почти целиком оставшихся в рукописях. В 1731 году он выпустил первую часть «Кlаvierübung», включив в нее шесть партит. Вторая часть «Клавирных упражнений» (1735) содержала Итальянский концерт и еще одну партиту. В четвертую (1742) вошли «Гольдберг-вариации». Отбирая пьесы для издания, Бах предпочитал те из них, которые легче могли получить распространение и вместе с тем не были очень велики по объему: ему было не под силу опубликовать хотя бы первый том «Хорошо темперированного клавира», который распространялся лишь в рукописных копиях. (Т.Ливанова, ИСТОРИЯ ЗАПАДНО-ЕВРОПЕЙСКОЙ МУЗЫКИ до 1789 года, ТОМ ВТОРОЙ)
Форкель пишет об этом издании: «Klavierubung, [ч. I,] состоящая из прелюдий, аллеманд, курант, сарабанд, жиг, менуэтов и других галантных пьес, - любителям во услаждение души... Opus 1. В издании автора. 1731» 7 [BWV 825-830]. Этот сборник содержит 6 сюит 8, первая из которых вышла из печати в 1726 году; остальные последовали за ней одна за другой 9, а в 1731 году они были напечатаны все вместе - это издание привлекло в свое время внимание всего музыкального мира, ибо никогда еще до тех пор люди не видели и не слышали столь превосходных клавирных сочинений. Тот, кто был в состоянии как следует разучить пьесы из этого сборника, мог тем самым добиться успеха в жизни; да и в наше время молодой музыкант может снискать себе с их помощью почет и уважение - настолько они великолепны, благозвучны, выразительны и вечно новы. В недавно вышедшем издании они озаглавлены «Exercices pour le Clavecin». (Ueber Johann Sebastian Bachs Leben, Kunst und Kustwerke, Von J. N. Forkel, Leipzig, 1802)
Bach's Partitas from Scott Ross
1. Partita for keyboard No. 1 in B flat major, BWV 825
2. Partita for keyboard No. 2 in C minor, BWV 826
3. Partita for keyboard No. 3 in A minor, BWV 827
4. Partita for keyboard No. 4 in D major, BWV 828
5. Partita for keyboard No. 5 in G major, BWV 829
6. Partita for keyboard No. 6 in E minor, BWV 830
Bach: 6 Partitas, Scott Ross, Erato 2292-45345-2 (February 3, 1992)
А вот, что пишет по поводу этой записи Дон Зац, сравнивая её с другими известными исполнениями:
I have never heard a recording from Scott Ross that I didn't find
excellent, and his 1988 performance of Bach's Partitas for Keyboard is
no exception. Best known for his immense undertaking of recording all
the Keyboard Sonatas of Domenico Scarlatti for the Erato label, Ross has
an unerring sense of rhythmic flow and pacing that extends from Frescobaldi
and the great Italian baroque composers to the Austro/Germanic masters
including Handel and Bach.
I would like to review the Ross set through reference to the excellent
comparison versions in the heading. This way, readers will hopefully
have a fair idea of the distinctions among the six sets and what to
expect from each.
Gustav Leonhardt needs little introduction. He was one of the early
pioneers of historically informed performance practices and is much
revered for his artistry and inspiration as both keyboardist and conductor.
Any reservations concerning his approach to historical performance tend
to revolve around the theme that he is overly austere with diminished
zest for the vitality and youthfulness of the music he performs. I find
that Leonhardt's austerity is mostly on the surface and that close
listening reveals a wide range of emotional content.
Such is the case with Leonhardt's 1983 performance of the Partitas.
The severe and sharp veneer is certainly present, but Bach's musical joy
is also part of Leonhardt's menu. His performances are informed with an
incisive introspection, excellent detail, concentrated energy, poignant
Allemandes and Sarabandes, and sufficient exuberance in the fast movements.
Concerning the fast movements, Leonhardt often employs rather slow tempos
in order to clarify each muscial line. Ross is distant from Leonhardt's
aesthetics, offering minimal severity and little priority on the detail
of the myriad musical lines. Instead, he is buoyant throughout with
great joy. Tempos are well within the mainstream, and the fast movements
bring an excitement rarely conveyed by Leonhardt.
Edward Parmentier does not enjoy the reputation afforded Leonhardt, but
his Wildboar/Bach recordings are a treasure to many serious Bach record
collectors. Like Leonhardt, his tempos in the fast movements tend to
be slowish. This allows for exquisite detail, and I think it's fair
to say that no version of the Partitas brings out Bach's architectural
splendor as convincingly as Parmentier's 1991 set; his use of hesitations
and the staggering of musical lines is particularly rewarding. At the
same time, I do have a bit of skepticism concerning Parmentier's emotional
investment in this music. Emotional investment is no problem at all
for Scott Ross, as can be clearly heard in his wonderful Sarabandes and
overall inflections. Ross isn't one to make much use of hesitations or
staggering musical lines, preferring a relatively straight-line approach
to the Partitas.
A comparison between Parmentier and Ross is not complete without comment
on the dance elements in the Partitas. With Parmentier's performances,
the dancing nature of many of the movements is largely neglected, while
Ross highlights this feature as often as possible. Essentially, there is
no set of the Partitas as alive to the dance characteristics as Ross's.
Igor Kipnis seems to have been with us forever, offering performances
that dig intently into the human condition. So it is with his 1977
recordings of the Partitas. No other harpsichord version is as penetrating
as the Kipnis, and his set also possesses the greatest degree of variety
in the repeating of sections. Unfortunately, his wealth of ornamentation
can sometimes sound self-indulgent. Although Ross is certainly less
creative with his repeats, they are sufficiently varied through use of
leaner textures.
Trevor Pinnock's 1999 set on Hanssler has much to offer in terms of
exuberance and a totally unmannered delivery, the Ross set being quite
similar in this regard. However, Pinnock does glide over the emotional
depth of the Allemandes and Sarabandes, and Ross always conveys a fine
sense of poignancy in these movements.
There is only one harpsichord set that I favor over the Ross, and it
comes from Kenneth Gilbert in his 1984-85 performances of the Partitas
on Harmonia Mundi. The phrasing is so natural that I feel I'm listening
to Bach play in his home. Given performances that glow with warmth and
understanding, the Ross set must take second place to Gilbert's.
Concerning sound quality, Ross is given excellent sound for the time
period although it is a little shallow in depth. For a truly exceptional
soundstage, the Parmentier and Pinnock sets fill the bill. The Kipnis,
Gilbert, and Leonhardt sets are roughly equal in sound quality to the
Ross.
For those who prefer Bach on piano, there are exceptional sets of the
Partitas from Rosalyn Tureck on Philips, Wolfgang Rubsam on Naxos, and
the one and only Glenn Gould for Sony. Clearly, there is an abundance
of riches for recordings of the Partitas, and Scott Ross presents one
of the best versions available. His life-affirming and vibrant
interpretations should provide many hours of joyous listening to those
who acquire the recordings.
Don's Conclusions: Except for the Gilbert set, the Scott Ross performances
of Bach's Partitas are as good as any harpsichord versions currently on
the market. I don't know if this set will be released in the United
States, but those interested should be willing to search afar to discover
such wonderful readings from the pen of Bach.
Don Satz