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Nikolai Demidenko (Hyperion CDA66713)
Rachmaninov lovers will find this disc very rewarding. It includes the complete Morceux de Fantaisie, which in addition to the perennially favourite C sharp minor prelude, contains other rarer gems like the vivacious Polichinelle in F sharp minor and the lugubrious but enchanting Sérénade in B flat minor.
Demidenko provides us with a stunning survey of Rachmaninov's piano music and he is consistently interesting in his playing. Demidenko is a virtuoso par excellence and this is reflected in this album as well as in his excellent recording of his Medtner piano concertos. Fiery yet lyrical, passionate yet tender, savage yet restrained, Demidenko never allows his coruscating keyboard technique to overshadow the intrinsic qualities of Rachmaninov's music. Some might feel that he is a little too restrained in some works that traditionally have been given more fireworks in their interpretation. For example, I can't help but think that his Prelude in G minor op.23/5 will benefit from a more steely and flamboyant treatment. I tend to prefer the prodigious bravura of Ashkenazy or Kissin to Demidenko's deliberation in this work.
Despite Demidenko's flawless technique, I fear that his intimate thoughtful approach to the music might leave some listeners cold. One might even think that he is over-detached and is playing to himself in some of the more meditative works. Therefore, people who are looking for sheer excitement and fire might find this disc a little disappointing.
Despite the caveats, this disc provides a very intelligent, beautiful and sensuous collection of Rachmaninov's greatest piano music. The piano is well-balanced but the sound is a little hollow and lacks fullness.
Written by Melvin Yap
Stephen Bishop-Kovecevich / London Symphony Orchestra / Sir Colin Davis (Philips 422 482 - 2)
The most majestic of all piano concertos, Beethoven's Emperor has been interpreted most beautifully by Kovacevich here. Although the piano sounds clattery at times and the background hiss is all too apparent, the sound is overall acceptable, bearing in mind that this recording was done in 1969. The lengthy first movement is taut and inspiring, and even though Colin Davis takes an expansive view of the adagio, the momentum of the concerto comes to a full swing in the rondo. Kovacevich has recently recorded this concerto under the EMI Eminence label with the Australian Chamber Orchestra during a live performance at the Sydney Opera House. So if you find the sound unacceptable in this Philips remastering, you should consider the 1989 release if you can ever find it. I have practically searched all the stores in Singapore and also some record shops in Australia for this recording without any success.
The piano sonata is well tackled by Kovacevich here. However, his reading is not the most memorable nor the greatest that is available. For further exploration of the sonatas, one should invest in Schnabel's complete cycle which is arguably the definitive reading of Beethoven's piano sonatas. Kovacevich fans should note that he has commenced on recording a new cycle of the sonatas for EMI. Two CD issues from this cycle have been released so far.
Written by Lawrence Poon
Maureen McGovern, Jeff Harris (drums), Jay Leonhart (acoustic bass), Grady Tate (drums), Lou Marini (reeds), Mark Sherman (percussion and vibes), Jeff Harris (conductor) / CBS MK44995
This is an superb collection of Gershwin songs. It is a comprehensive collection, spanning Gershwin's songwriting career, from his early pop tunes and revue material to his later musical theatre, opera and film scores. This live concert was recorded in a New York City Studio in front of an audience of 150. This audience included Frances Gershwin, sister of George and Ira.
McGovern is no novice Gershwin interpreter. New York critic Bob Harrington has described her as the "quintessential interpreter of Gershwin". Michael Tilson Thomas, a Gershwin scholar of some repute, tells us that McGovern's "expressive, versatile and pyrotechnical interpretation are wonderfully displayed on this generous album."
It is difficult to disagree. From the very start, McGovern's voice grows on you. She sings like quite no other and it is difficult to describe it exactly save that she is never predictable. She uses her voice like a virtuoso and this is immediately obvious in her amazing dynamic range, the effortless way she hits high notes and the sheer power of her voice. She also sings with a wonderful seductive quality that at once beguiles and envelopes you.
The songs are of course of the very highest quality. My favourites include 'I've got Beginner's Luck', 'By Strauss', 'Naughty Baby', 'Somebody Loves Me' and 'Little Jazz Bird'. Throughout the disc, McGovern never fails to captivate and she is consistently accompanied enthusiastically by the ensemble.
It is good that an album of this calibre is accompanied by equally spectacular sound. Despite being recorded live, the sound is in the superior category. Every detail is closely captured and every subtle nuance can be heard. Turn off the lights, turn up the volume and it will not be hard to imagine yourself in a seat listening to a live performance.
This outstanding disc gets my full recommendation
and any self-respecting Gershwin fan should have one on his shelf.
I think you'll find yourself agreeing with Frances Gershwin who
described McGovern's voice as a "miracle" at the conclusion
of this album. If this disc isn't already a classic, it deserves
to be one.
Written by Melvin Yap
Martha Argerich / RSO Berlin / Riccardo Chailly (Rachmaninov) / Bavarian Radio Symphony Orchestra / Kyrill Kondrashin (Tchaikovsky) (Philips 446 673 - 2)
The highlight of this recording must be the Rachmaninov. It was released in 1995, but was recorded way back in 1982. It seems that Ms Argerich herself forbade the release of this 'live' recording for some peculiar reasons, and it is good that at long last, Philips have managed to get it on disc. This is a superlative account, with Argerich, the greatest female virtuoso pianist of our time in so many ways, in top form. She is at her most inspired here, and the 'live' occasion prompts her to play with more individual flair, passion and spontaneity. This inevitably results in the occasional technical flaws and blurred fingerwork, but Argerich's personality, which is always at the service of the music here, comes to the forefront, and it is impossible to remain cold towards such inspired playing. One cannot say that this is a beautiful account as it isn't. It is more an exhilarating account, but never merely flashy - Argerich has formidable authority, and control and command of keyboard colour. The finale is taken at breakneck speed, and she sweeps the listener off his feet with the incredible amount of energy in the performance. Chailly and the orchestra are obviously inspired (or startled??) by their soloist's way with the music and lend equally powerful support. The thunderous applause and cheers at the end is most well deserved. The recording is clear, though not exactly very ideally balanced, with Argerich pretty much dominating the aural picture. This account is marginally a first choice for this much-recorded concerto, with Byron Janis (Mercury) and perhaps Vladimir Horowitz (RCA) making worthy alternatives.
The Tchaikovsky is not as special, but is played in the same style as its coupling - bold and impetuous. Everything, especially the finale, is taken very fast, and one is just plain amazed at how both Argerich and the orchestra manage to keep up. Still, the fast speeds mean that there is greater excitement, and while Argerich's moments of impetuosity will not appeal to all tastes, it is still undoubtedly a powerful account that will please admirers of this great pianist. Her older analogue version on DG with Charles Dutoit is still preferable, and remains one of the top choices alongside those by Horowitz and Van Cliburn (both RCA).
Written by Lionel Choi
Wolfgang Schneiderhan / Berlin Philharmonic Orchestra / Eugen Jochum (Violin Concerto) / David Oistrakh / Royal Philharmonic Orchestra / Eugene Goosens (Romances) (DG 427 197 - 2)
The Beethoven violin concerto has recently been re-released with Mozart's fifth violin concerto in a remastered ADD format by DG and this should remove the layers of murkiness in the sound that were so apparent in this Privilege CD issue (AAD format). Otherwise, the playing of Schneiderhan is of utmost divinity; such spiritual beauty in this concerto can no longer be found in recordings by today's great fiddlers, eg Perlman, Chung, Kennedy, etc. The larghetto here is handled with extreme tenderness and lyrical beauty while the rondo is tackled with much virtuosity. It is interesting to note that the cadenzas used in this recording were actually written for the piano and orchestra transcription of the concerto. One can hardly complain about the questionable sound quality while being mesmerised by Schneiderhan's wizardry and Beethoven's creation. This version of the concerto definitely ranks among the greatest recordings of this work.
The two romances here are played with the usual panache and virtuosity of David Oistrakh. Beyond that, the violinist was not put to a real test and Oistrakh overcame the technical difficulties with much ease. However, they do not exactly rank high on Beethoven's list of greatest works.
Written by Lawrence Poon
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Copyright © 1996 Lionel H Y Choi, Melvin J Yap, Lawrence Poon.