MENDELSSOHN Piano Works
Mendelssohn from specialist and scholar Prosseda
View record and artist detailsRecord and Artist Details
Composer or Director: Felix Mendelssohn
Magazine Review Date: 03/2013
Mastering:
Stereo
DDD
Catalogue Number: 4765118
Tracks:
Composition | Artist Credit |
---|---|
Fantasy, 'Sonate écossaise' |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Sonata for Piano |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Rondo capriccioso |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Fantasia on 'The last rose of summer' |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
(3) Fantaisies (or caprices) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
(3) Caprices |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Scherzo |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Scherzo a capriccio |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Capriccio |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Roberto Prosseda, Musician, Piano |
Author: Jeremy Nicholas
I began with the first track on disc 2, the evergreen Andante and Rondo (‘Rondò’ in the booklet) capriccioso. My first reaction was to wince at the piano sound, the kind that makes you long for analogue in the old Kingsway Hall or shellac in the small Queen’s Hall studio. You can almost smell the disinfectant, such is the merciless clarity of the acoustic produced by the laboratory that is the Tau Recording Studio, Acireate, Italy. A by-product of the engineering is the all-too-audible muffled thud of the sustaining pedal’s action throughout both discs. Perhaps others will find this less of a distraction than I did.
As to the playing, this volume is well named, for Prosseda has a fiery and fluent technique. Charm, however, is not one of his strong suits, Op 14 being a case in point, while in those works of unrelenting note-spinning – and there are quite a lot – Prosseda dispatches the pages of semiquavers with electrifying precision and flair but with little tenderness or tonal allure. Take the final section of the Fantasy, Op 28. This is played at a true presto with great power and sonority – there were moments when I thought I was listening to an Alkan étude – but there are few concessions to Mendelssohn’s dynamics eloquently, if less thrillingly, executed by Benjamin Frith on his highly desirable Naxos cycle. When the composer requests con fuoco, you realise Prosseda has already been doing just that for the previous few pages. Nevertheless, despite these reservations, the two CDs offer a rare chance to hear these undervalued works side by side and piano lovers must be grateful for Prosseda’s determined advocacy.
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