Christophe Rousset, harpsichordist (2nd from right) and
John Phillips, harpsichord builder (1st from right)
04/07/2013 North Community Church, Berkeley, CA
Christophe Rousset, harpsichord
Francois Couperin: Quatrième livre de pièces de clavecin (vingt-septieme ordre):
L'Exquise - Les Pavots - Les Chinois - Saillie
Jean-Philippe Rameau: Nouvelles Suites de pièces de clavecin (suite in G major):
Les Tricotets - L'Indifferente - La Poule - Menuets I&II - Les Triolets - Les Sauvages - L'Enharmonique - L'Egyptienne
Jean-Philippe Rameau: Les Indes galantes, suite de ballet transcrite pour clavecin:
Ouverture - Air pour les esclavec affricains - Air en do mineur: Vivement - Air grave pour les Incas du Perou - Rondeau gratieux - Gavottes I&II
Joseph Pancrace Royer: Premier livre de pièces de clavecin:
La Majestueuse - La Zaide - Les Matelots - Tambourin I&II
喜歡或是稍微有接觸大鍵琴音樂的人不可能不認識Christophe Rousset這位大鍵琴家。之前在介紹d'Anglebert的鍵琴作品和Rameau的室內樂曲的錄音時我也都有提到他。雖然Rousset也彈過不少巴哈的作品，不過他終究在許多人的心目中是法國大鍵琴音樂最重要的代言人之一。除了錄過F. Couperin及Rameau兩位法國最重要的大鍵琴作曲家的大鍵琴曲全集之外，對於推廣其餘名氣較小的作曲家(如d'Anglebert, Forquerary, le Roux, Duphly, Royer等)他也是不遺餘力。
2013年初時就看到了Rousset要來灣區表演的消息，當然不會放過這麼好的機會。事實上，這一天的活動為灣區眾多古樂協會之一Music Sources的募款音樂會。而他們正是找來了大師Rousset當演奏的嘉賓。因為如此，所以這場音樂會的票價偏貴。不過也正因為這樣，音樂會開始前一個小時，有個小餐會提供多項點心和飲料招待～～
而始終和法國古樂脫離不了關係的Rousset順利成章地挑了一整個下午的法國大鍵琴曲作為音樂會的曲目。就算再喜歡大鍵琴，清一色的法國大鍵琴曲對於任何一個古樂迷來說都是一種挑戰。更別說，為時一個半小時多的音樂會還沒有中場休息，可真是折騰了不少慕名前來一睹Rousset風采的聽眾。
法國曲子不像義大利曲子外向直接，也沒有德國曲子中對位的層次感。征服全歐洲的法國組曲中的一支支舞曲，除了有細膩的裝飾音，還有特別的附點節奏。而到了Couperin與Rameau，法國大鍵琴又演變出了character piece的特有風格，除了刻畫人與物，猶能描繪心情。這種沉思意境極為濃厚的音樂，是個須得慢慢培養出的愛好(acquired taste)。
Rousset以法國鍵盤作曲家之首Couperin開場，彈的是他最後一冊的最後一首組曲(第二十七首)。這是他寫過最短的組曲，裡面只有四首曲子。第一首Allemande L'Exquise (exquisite)果真沒食言，充滿了典型法國大鍵琴曲的精緻。其餘三首也都有標題：Les Pavots (罌粟花)，緩慢的音樂在描寫這株植物能產生的嗜睡效果。Les Chinois(中國)，不知道十七世紀歐洲人對中國的印象是什麼，但Couperin要傳遞的訊息有點太抽象了。Saillie，一個謎樣的標題，叫人摸不出所以然，但是一首俱有動感的曲子。
Rousset從開頭的Couperin組曲，就展現出他流暢的演奏風格。擁有精湛技巧的他，裝飾音的執行根本易如反掌，而樂句處理上所需要的控制也都得心應手。對於節奏較快的曲子，他融合了華麗與力道於一身，是讓人嘖嘖讚嘆的「招牌Rousset聲音」。對於比較慢的曲子，或許應該說，音樂比較「有空隙」的曲子，Rousset的彈奏讓我覺得少了些使命感而時常讓我放空。快曲子中他擅長的手法，換到有靜思空間的音樂時，少了點說服力。而對於Rousset音樂會整體彈奏的印象，從Couperin開頭組曲後並沒有改變太大。
Couperin之後，Rousset演奏的是可與Couperin平起平坐的Rameau。Rameau一生中只寫了三冊的大鍵琴曲，但其重要性完全不亞於Couperin，某些方面來說，甚至超越了他。首先是Rameau最後一冊的G大調組曲。除了小步舞曲是典型的舞曲名稱(menuet)之外，其餘的曲子都有生動的標題。裡面最有名的，算是形容母雞的叫聲極為詼諧的La Poule，。這首後來還被Respighi改編成了管絃樂版。另外，Les Sauvages(野蠻人)，不需要後人改編，Rameau自行就改編給樂團，放入了他的歌劇Les Indes Galantes，成為膾炙人口的旋律。當然，還有和聲奇特的L'enharmonique，提醒大家Rameau可是一位樂理家出生的。
接下來比較新鮮的，是Rameau將歌劇Les Indes Galantes器樂曲改編成大鍵琴版的幾首選曲。這首歌劇我其實並不熟悉，但知道故事是發生在美洲新大陸。這些曲子和先前的大鍵琴組曲相比，多了一些隆重與熱鬧的氣氛。而這些原本的管絃樂曲子，當初表演時就應該是穿插舞者的盛大表演，儘管改編成為鍵盤曲，原本的面貌仍然保留得相當完整。
而音樂會最後的曲目，是法國晚期名氣較小的作曲家Royer的作品。 Royer生平只出版了一冊大鍵琴曲，不過有幾首是相當有個性的曲子，特別是那首La Marche des Scythes，除了有異國色彩，更是挑戰演出者技巧的音樂。不過，Rousset這天沒有演出這首，而是這冊的前四首。其中，有散發出貴氣和威風的La Majestueuse與Les Matelots，柔嫩甜美的La Zaide，不過Rousset選擇以歡欣鼓舞的Tambourin做為完結，也非常符合他的音樂性格。
正式的音樂會曲目結束後，Rousset的表演肯定是受到熱烈掌聲的歡呼。遠從法國而來的他，也沒有讓我們掃興，很配合地彈了兩首安可曲。第一首是Royer的一首怪曲Le Vertigo，不斷重覆的十六分音符和絃，不論是誰聽了，都會印象深刻。而Rousset挑這一首，無非是想炫耀一下自己卓越的技巧，因為那段他彈的速度可是快得驚人。不過，賣弄技巧之後，Rousset自嘲該回到「正常點」的音樂，第二首安可曲為典型的Couperin，搭配著Rousset飄灑的演奏，全音樂在優雅的氣氛劃下句點。
音樂會結束後，因為臉皮很厚帶了許多要請Rousset簽名的CD冊，所以自願留到最後一位，並有幸與Rousset與灣區最有名的大鍵琴製琴家John Phillips留影。雖然整場音樂會有褒有貶，但親臨現場目睹Rousset的現場表演，當然是值得的。
P.S. 這篇對我來說極為難寫，拖了近一年才完成。希望其餘積欠的音樂會心得可以較迅速完成。另外，音樂會中間發生的一些瑣事，也不在這兒詳細記載了。
Rousset is one of the most recognizable names in the world of early music, first as a harpsichordist who has championed the repertoire of the French harpsichord works, and lately as a conductor of French Baroque opera. Besides recording the complete works of F. Couperin and Rameau, he has also brought awareness to the lesser known masters such as d'Anglebert, Forquerary, Duphly, le Roux, Royer, etc..
When I noticed that Rousset was coming to the Bay Area, I immediately penciled in the date on my calendar and reminded myself that I was going to make this concert no matter what. Turned out, this Rousset's concert was a benefit concert of Music Sources, one of the many early music associations in the Bay Area. The downside of this was that the tickets were on the pricey side. The upside of this was that there was reception before the concert with some nice refreshments.
Rousset's program featured an entire afternoon of French harpsichord music, without an intermission. While this is certainly an impressive feat for Rousset, at the same time it was a quite a challenge for those who came to hear the maestro play. French Baroque music isn't as outgoing and direct as the Italians, and it often lacks the contrapuntal layers of German music. The keyboard suite which conquered Europe was built on top of dance after dance, characterized by its dense ornaments and dotted rhythms. And then came Couperin and Rameau, who set the trend of character pieces with descriptive titles of people, objects, actions, and even moods. A musical style that can be introverted has always been an acquired taste, with its appreciation even more highly dependent on the performer.
Rousset's program started out with, not surprisingly, Couperin, the most important figure of the French harpsichord school. Rousset chose to play the final ordre Couperin ever published, the 27th in the Fourth Book, incidentally also the shortest Couperin had ever written, consisting of only 4 pieces. The first piece, L'Exquise is truly exquisite, epitomizing the French harpsichord idiom. The next three pieces have interesting titles as well: Les Pavots (poppies), it's slow pace supposed to portray the sleep-inducing plant; Les Chinois (Chinese), not sure what Couperin's impression of the Chinese was back in the 18th century, but I clearly didn't get it; Saillie, one of Coueprin's pieces with enigmatic titles, but it's a vibrant piece.
From the get-go, Rousset displayed that fluid playing style which won him such critical acclaim. Technically brilliant, Rousset's execution of the ornaments was effortless, and his articulation immaculate. For the faster pieces, this was where Rousset excelled at, embodying both grandeur and power, delivering that trademark "Rousset sound". However, for slower pieces, or rather, pieces that had more "silent gaps," Rousset's playing seemed like it lacked a bit of conviction. In these pieces, I found myself spacing out few times more than I would've liked. For some reason, Rousset's playing, which worked brilliantly on the livelier pieces, wasn't as convincing in the meditative pieces. This was generally something I felt consistently throughout the whole afternoon.
Next on the program was one of Rameau's suites. One of the other pantheons of French harpsichord music, I've often state that I find Rameau's pieces having more variety, being more daring, and in turn, giving me more enjoyment than Couperin's. Like Couperin, Rousset was playing the last suite (in G) of Rameau's last publication, the Nouvelles Suites de pièces de clavecin published in 1728. The most descriptive piece has got to be La Poule (the hen), with the humorous clucking motif. And then there's the famous Les Sauvages, appearing later in his opera Les Indes Galantes and also rearranged by other composers. Also deserving mention is L'enharmonique, a piece where Rameau goes a bit academic and reminds people his early accomplishments as a musical theorist.
There was more Rameau to come, selections from Rameau's arrangements of Les Indes Galantes. I actually don't know the opera well, so hearing these pieces being played was actually quite fresh. As these instrumental interludes were supposedly danced to, the transcriptions give off a festive and pompous vibe. In general, these pieces were more spirited than the previous Rameau suite.
Finishing off the program was lesser-known Royer. During his liftetime, he's managed to only publish one book of harpsichord pieces, but some of them have found their way into today's early music circle, for some of these pieces have quite a character. The most notable one might be La Marche des Scythes, not only for its exotic tune, but for being a technical showpiece. Well, Rousset didn't play the piece, but instead the first four pieces in the publication. There were the grand majestic La Majestueuse (aptly titled) and Les Matelots, sweet and delightful La Zaide, but of course, Rousset decided to go out with a bang with the Tambourins.
Naturally, Rousset was received with a standing ovation, and to please the crowd, he had a few pieces up his sleeve. The first encore turned out to be Royer again, but it was Le Vertigo, a piece that ranks up there with La Marche des Scythes in terms of theatrics. The repeating 16th note chords is bound to make an impression on anyone who encounter it. Rousset's chance to show off his technique could not have been more apparent, as he executed it with speed and clarity. After the fireworks, Rousset returned on stage after another round of applause and jokingly told the audience he would end with something "more normal". Fittingly, he ended with Couperin, a typical piece which Rousset rendered in a suave fashion.
After the concert, I waited until the end to had my CD booklets signed, mainly because I had so many of them. Rousset was courteous and agreed to taking a picture with me, and in doing so, also got famed harpsichord builder John Phillips in the same picture. Despite minor reservations, attending the live performance of Rousset was well worth it.
P.S. This turned out to be a difficult entry to start and finish for various reasons. I'm hoping the other concerts that are currently backlogged won't be as challenging.
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