À la russe
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky, Sergey Rachmaninov, Igor Stravinsky, Mily Alexeyevich Balakirev
Genre:
Instrumental
Label: BIS
Magazine Review Date: 07/2017
Media Format: Super Audio CD
Media Runtime: 76
Mastering:
DDD
Catalogue Number: BIS2150
Tracks:
Composition | Artist Credit |
---|---|
Isalmey |
Mily Alexeyevich Balakirev, Composer
Alexandre Kantorow, Piano Mily Alexeyevich Balakirev, Composer |
Sonata for Piano No. 1 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer |
(The) Firebird, Movement: Infernal Dance |
Igor Stravinsky, Composer
Alexandre Kantorow, Piano Igor Stravinsky, Composer |
(The) Firebird, Movement: Berceuse |
Igor Stravinsky, Composer
Alexandre Kantorow, Piano Igor Stravinsky, Composer |
(The) Firebird, Movement: Finale |
Igor Stravinsky, Composer
Alexandre Kantorow, Piano Igor Stravinsky, Composer |
(18) Morceaux, Movement: Méditation, D |
Pyotr Ilyich Tchaikovsky, Composer
Alexandre Kantorow, Piano Pyotr Ilyich Tchaikovsky, Composer |
(18) Morceaux, Movement: Passé lontain, E flat |
Pyotr Ilyich Tchaikovsky, Composer
Alexandre Kantorow, Piano Pyotr Ilyich Tchaikovsky, Composer |
(2) Pieces, Movement: Scherzo à la russe, B flat |
Pyotr Ilyich Tchaikovsky, Composer
Pyotr Ilyich Tchaikovsky, Composer |
Author: David Fanning
If Kantorow’s Stravinsky and Balakirev show that his fortissimo can shake the chandeliers from the ceiling when he chooses, his Rachmaninov is notably more classical, as befits a 40-minute sonata. Not that it lacks passion or virtuosity; just that these are properly subordinate to architecture and flow. If this leaves me ultimately a little unsatisfied, that’s because the Sonata needs more emotional extremes – more fantasy, desperation and risk – if it is to justify its length. Niggling doubts about the piano sound caused me to check in the booklet. Not that all Steinways necessarily beat all Yamahas, but in this case I did sense a certain constriction in colouristic range and a lack of orchestral fullness.
Admittedly, by comparison, Ashkenazy’s Steinway on Decca sounds curiously dry, almost strangulated in tone, and at under 34 minutes the playing itself feels at times a little perfunctory. The kind of sound and sensibility I realise I was craving is to be found from Gordon Fergus-Thompson on Kingdom: spacious and orchestral in texture, free and dreamlike in phrasing, clamorous to the point of desperation when called for, and closest of any I have heard to the composer’s own estimated duration of 45 minutes. Encountering it again after a long interval made me forget any faults the piece might have and put it straight on my bucket-list for playing before I die.
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