I must be careful not to make this sound like an indiscriminate rave review, but what do you do when a disc of this calibre drops through your letterbox? I could say that you'll either like it or hate it but you won't remain indifferent, but that would be platitudinous, and besides, I cannot seriously see the 'dislikers' numbering many anyway. No from the first bar of the gently lyrical Canzona serenata, Op. 38 No. 6 you instinctively know that the following 71 minutes are going to be special indeed—and they are. The first thing that impresses is Demidenko's diaphonous tone, his bell-like cantabile and his ability to probe deep below the surface of the music. As the recital progresses the next thing to become obvious is the natural sense of flow. This is achieved (be it conscious or not) with the placement of each piece in a harmonic scheme—the first five tracks, building to an obvious climactic release in the shape of the Sonata tragica, proceed through the following keys: F minor (Canzona serenata), B flat minor (Scazka), D minor (Sonata elegia), G major (Canzona matinata) and finally C minor (Sonata tragica). There are other connections made too, such as the thematic interrelationship between the two canzonas and sonatas, as for example the Canzona matinata echoing the Sonata elegia of some 16 years earlier before proffering, in the central section the gorgeous Interludium section of the following Sonata tragica. Logically presented, as they are here, all these interconnections and deja vu episodes amount to a thoroughly absorbing and intelligent presentation Medtner's music and creative psyche, allowing the listener a fuller and more rounded appreciation of the composer than is normally presented. With regard to the Sonata tragica (one of Medtner's finest pieces I believe) I must say that Demidenko's interpretation is without doubt the finest I have heard—tempos are exceedingly well chosen, and the tremendous sense of impetus in the opening and closing sections is marvellously captured, without, as I have sometimes heard in other performances, a loss of rhythmical acuity or a sense of the music getting the better of the performer. The final pages of the sonata are particularly exhilarating in the hands of Demidenko.
Following the Tragica, come the delightful and beautifully crafted Theme and Variations, Op. 55. These provide an ideal show-case for the many subtleties and nuances of Demidenko's playing including some exquisitely refined delineation of individual melodic lines. Demidenko's much remarked upon power and wide dynamic range can be heard in the declamatory Dithyramb, Op. 10 No. 2, though personally I don't share the obvious enthusiasm that either as Ates Orga (insert-notes) or Demidenko feel for this rather overbearing and splashy display piece. It's a matter of taste though, and I am sure that there will be many who have no such reservations. Finally, with the Sonata reminiscenza, we come full circle and encounter once more the poignant, beguiling melody that opened the disc with the Canzona serenata. It's an introspective and at times darkly brooding work that in the hands of Demidenko has great poise and beauty. Comparison with Tozer's account on Chandos is startling: Tozer opts for a much faster tempo throughout, and indeeld knocks no less than 5'40'' off Demidenko's overall duration of 18'39''. Needless to say, despite an other wise fine performance, Tozer's account lacks a certain degree of mystery and depth. Ates Orga and Philip Hobbs have, with the help of the luminous acoustics of The Maltings, Snape, produced a truly remarkable piano sound full of warmth and intimacy, and intimacy, and which I can only describe as the next best thing to being there. An exceptionally fine disc indeed.'