Reviews in January 1997

Shura Cherkassky Live - Encores, Volume 3

Padereweski - Menuet célèbre, op.14 no.1; Tchaikovsky/Nigel - None but the lonely heart; Chopin - Waltz in E minor, op. Posth.; Rachmaninov - Polka de VR; Shostakvoich - Polka from 'The Age of Gold'; Scriabin - Etude in C sharp minoe, op.2 no.1; Balakirev - Islamey; Cherkassky - Prelude Pathethique; Sinding - The Rustic of Spring; Albéniz/Godowsky - Tango, op. 162 no.2; Mozart - Rondo alla turca; Debussy - Arabesque No.1; Rebikov - Christmas Tree; Rachmaninov - Elégie op.3 no. 1; Moszkowski - Liebeswalzer in A flat, op.57 no.5; Sibelius - Romance in D flat, op.24 no.9

Shura Cherkassky, piano (Decca 433 651-2)

Shura Cherkassky is one of those phenomenons that occur only a few times each century. Prodigiously talented, sparkling, spontaneous and always surprising, he never fails to give a rendition that is at once charming, breathlessly impressive yet touching. His contemporaries include piano greats like Bolet, Earl Wild and Horowitz but for some reason, this great pianist has been cloaked in an obscurity he does not deserve.

What can I say about this disc? I'd rapidly run out of superlatives if I were to go on and on. Cherkassky does not believe in delivering what we have been conditioned to expect --- rather, he delights in challenging and stimulating the hitherto apathetic listener. From the beginning notes of Paderewski's most famous work, we are engaged by a lively and sometimes mischievous musical personality. In contrast to many young pianists today who command flawless mechanical expertise but little character, Cherkassky has this wonderful ability to make the piano sing, sometimes plaintively, sometimes with big dash of humour. In Tchaikovsky's mournful and sentimental 'None but the lonely heart', we are treated to that marvellous tonal palette he commands, that transcendental mastery that reminds one of Horowitz at his prime.

There are no low points in this programme. Even 'traditional' favourites are never interpreted pedantically --- listen to the verve and insights in Chopin's Waltz. The best parts of this disc for me, though, are the less common works we seldom get to hear like the Shostakovich and Balakirev works. There's both magic and playfulness in the Polka by Shostakovich and it's not hard to imagine Cherkassky enjoying himself during the performance. Islamey is a staggeringly difficult work, requiring remarkable technical prowess and imagination. Cherkassky rises up to the occasion, giving us a tour de force that leaves us on the edge of the seat. The Prélude Pathètique, composed by Cherkassky himself, is a moody, meditative work in the Romantic tradition, running the gamut of emotions tempestuously.

You have to listen to this disc to understand why I'm raving about it. Despite being a collection of BBC recordings, the sound is up to Decca's usual high standards and I think you'll find your money very well-spent, indeed.

Written by Melvin Yap

Bedrich Smetana (1824 - 1884)

Má Vlast

Vienna Philharmonic Orchestra / James Levine (DG 431 652 - 2)

Bohemian composer Smetana is often regarded as the founder of Czech music. This disc contains what is easily his best and most well-known composition. Má Vlast (My Fatherland) is a cycle of six symphonic poems composed between 1874 and 1879. By then, Smetana was already completely deaf, but that did not stop him from composing these beautiful pieces.

The most famous item here must be the Moldau, a grand impassioned portrait of the great river. These are works rich in Bohemian flavour, and in many occasions, Smetana attempts to capture much of the unique dance spirit of his homeland's culture in his music.

It seems somewhat questionable therefore whether an Austrian orchestra under an American conductor can possibly pull this off. But this is no ordinary Austrian orchestra: it's the great Vienna Philharmonic, and indeed, their playing is absolutely glorious. The strings have a rich texture that goes well with refined yet bold and brilliant brasses. That very much describes James Levine's way with the music here as well. He does exaggerate dynamics a little bit more than usual, but this is not at all unacceptable here. He coaxes the orchestra to play with passion, and climaxes are built up with mastery, and executed with overwhelming fervour. Levine's tempi are a little on the fast side, but quieter moments are never lacking in atmosphere and mystery. He may not capture the native spirit of the pieces as fully as, say, Libor Pesek and the Czech Philharmonic (Virgin Classics) do, but he strikes a perfect balance between that, and style and refinement. The end-result is never for a moment slick, yet never sounding uncultured either. These are feisty, thrilling red-blooded performances that will undoubtedly sweep you off your feet.

It is amazing that DG has managed to squeeze all 76 minutes of music into one CD. The digital recording, made in the Vienna Musikverein in the late 80s, is a little on the dry side, but the immediacy and clarity of the sound help Levine's interpretations greatly. An impressive release.

Written by Lionel Choi

Frédéric Chopin (1810 - 1849)

Nocturnes

Maria João Pires, piano (DG 447 096 - 2) (2 CDs)

Nocturnes are actually, as the name itself suggests, piano pieces frequently associated with the night and romance. John Field was the first to explore this area, with Polish grand piano master Chopin jumping on the bandwagon not long thereafter. These 21 pieces, as with many other piano works by Chopin, are staples of the concert repertoire, and Portuguese pianist Maria João Pires is entering a hotly-contested field with this new release.

Pires first came to international attention when she released a highly-acclaimed Mozart concerto and sonata cycle (on Erato and Denon respectively) in the 70s. Her promising career came to a hiatus after that due to poor health, but she is now back in the limelight, having been signed on to Deutsche Grammophon in the mid-80s and has been releasing many recordings since. Pires' playing has certainly matured a great deal since those early Mozart days. This new Chopin set is by far one of her best releases yet.

She faces tough competition here, for big names like Rubinstein, Ashkenazy, Barenboim and Pollini have all released impressive recordings of these famous works. But Pires emerges from the contest unscathed, and with her head held high too! I have never found myself very enthusiastic about these salon piano pieces, partly due to their (sometimes overtly) subdued nature. It is therefore to Pires' credit that she is able to excite much interest and arouse attention with this fine recording. Do not be mistaken by my previous assertion that these are controversial readings. I have never heard anything from her, be it here or elsewhere, that vaguely resembles vulgarity or coarseness. Pires is such a refined and sensitive pianist, and here, that refinement is cleverly married with so much character and, at times, dash and fire. There is a sensuous quality to her interpretations, yet her liberal but judicious use of rubato, and careful but generous use of the sustain pedal give her playing added character. In her hands, these gentle pieces emerge with an incomparable glow, warmth, passion, mystery and above all, stature never before heard in older recordings, except maybe those by the legendary Artur Rubinstein (RCA). Unlike with others like Ashkenazy (Decca) and Livia Rev (Hyperion), this is not mere prettified playing; Pires takes us on a musical journey, one that you will be compelled to take with her, rather than just stand by to listen. (Just to take but two of many examples, sample the Pires magic at its best in the Nocturne in B major, op.9 no.3, and the F major, op.15 no.1.)

DG's 4D recording technology gives the piano sound a beautiful bloom, and is generally atmospheric, doing full justice to the magnificent playing. An indispensable set to own, even if you already have other sets on your shelf.

Written by Lionel Choi

A Tribute To Jascha Heifetz

Itzhak Perlman, violin / Samuel Sanders, piano (EMI CDC 7 49604 2)

This disc is a little different from the many violin recital discs we find in the market. It contains 19 pieces, all arranged for violin and piano by the legendary Jascha Heifetz, himself a wizard on the fiddle, and all of these were featured on his concert repertory, mainly as encores. And who better to play these transcriptions than his latter-day successor, the great virtuoso violinist Itzhak Perlman. (Many might remember him for lending a magical touch to John Williams' score for the movie Schindler's List.)

The many violin bonbons here include staples like Elgar's La Capricieuse. But it is the rare stuff that make this collection so special. As we plow through the 59 minutes of music, we do not just discover rare gems and ingenious arrangements, but also get to hear the many facets of Perlman. The recital opens with Manuel Ponce's Estrellita, and what a breathtaking start it is! Perlman finds plenty of atmosphere in Rachmaninov's It's Peaceful Here and Chopin's Nocturne. He plays the virtuoso showpieces with aplomb, panache and dash; just try Poulenc's Presto (a favourite encore of many pianists, especially the great Vladimir Horowitz). But what is most impressive is the charm that Perlman exudes in abundance - he is obviously having fun in Debussy's Golliwogg's Cakewalk and Albéniz's Sevilla (Suite española). The brief stint with André Previn in the jazz idiom has obviously helped - the stunning transcriptions of Gershwin's Three Preludes for piano are incredibly convincing and enjoyable. There is Perlman the serious thinker in the meditative yet passionate rendition of Saint-Saëns' The Swan (from the famous musical romp, The Carnival of the Animals). And the recital ends gloriously with a poignant account of an old song, The Old Folks at Home, by Stephen Foster.

Samuel Sanders is an expert and understanding accompanist. The digital recording favours the violin, but Sanders' distinguished contributions are never obscured. An apt reminder of Heifetz's greatness as a quicksilver performer, and an uncanny suggestion that his spirit lives on in Perlman.

Written by Lionel Choi

Johann Sebastian Bach (1685-1750)

"The Well-Tempered Clavier" Book 1

Prelude and Fugues Nos. 1-12 BWV 846-857 & Prelude and Fugues Nos. 13-24 BWV 858-869

Glenn Gould, piano (Sony Classical SM2K-52600)

Let me insert a bald warning here. You are going to either hate or become crazy about these recordings. It is, I think, close to impossible to be indifferent toward Glenn Gould. Although one of the objectives has been to provide recommendations of recordings that are generally critically acclaimed and having catholic attraction, it is my belief that one has to take risks occasionally to reap greater rewards.

I am a fan of Glenn Gould and thus may be slightly biased in this review. Ever since I heard his controversial, bewildering and utterly unconventional Mozart piano sonatas several years ago, I've developed a keen interest in finding out more about this incredibly gifted and eccentric musician. Gould died about 14 years ago and the musical waves he has bequethed to us is still causing waves in listeners. He first shot to fame with an avant-garde and original recording of the Goldberg variations which practically achieved cult status when it was released, which is all the more amazing given the esoteric and non-popular nature of the work.

What are the hallmarks of a Gould interpretation? Great idiosyncrasy and a blatant disregard for convention. As I am transported through the works, I can't help but be mesmerised by the live-like nature of the recording, the phenomenal keyboard technique exhibited as he layers part after part in the contrapuntal fugues with machine-like ease and precision. Some might find the way he shows off with his inhumanly fast tempi offensive (listen to Fugue No.22)but I've never found this effect to anything less than exciting. Some also might complain about the weird staccatos he inserts into the famous first prelude. If you listen carefully enough, you might even hear him humming along in the softer passages. True, but Gould, despite all his quirks and strange habits, was a genius and while some might point out that only a fine line divides genius and madness, I like to think that despite everything, there's something in these recordings that reveal facets of a brilliant and utterly original musical personality.

These are not easy performances to digest. There is soul and insight in these recordings but the listener has to overcome accumulated preconceptions and prejudices to appreciate them. As I said before, Gould presents Bach in a way no one has ever done before and is not likely to do since. I cannot give this recording an unqualified recommendation since I suspect I might be accused of misleading or prevaricating if I do something like that. Rather, I urge the more adventurous listeners out there to consider investing in one or two Gould recordings, starting with perhaps his monophonic Goldberg variations or later Beethoven sonatas. Treasures are often found in the most unexpected places and you might find one here.

Written by Melvin Yap