There’s
taut, crisp, elegant, controlled playing on this fine modern
recording of some of Dvořák's lesser-known works. The
disc also benefits from the immediacy of live performance in
the case of the piano concerto. In view of the live recording,
the quality of the disc is exceptional. Aimard is lyrical as
the piano soloist, especially in the beautiful section opening
the second movement, a delicate contrast to the majestic first
movement.
The
symphonic poem,
'The Golden Spinning Wheel, a late work
composed after Dvořák's return from the USA, is very nationalistically
Czech. It follows its folk-tale source in Brothers Grimm style
especially closely even for a symphonic poem. The work is reminiscent
of Janáček or Smetana in this regard, rather than Brahms,
with whom Dvořák is more frequently compared, and from
whose writing the piano concerto clearly takes some reference.
It is well played and recorded, although the music varies from
melodic and rather simplistic to bombastic.
In
the concerto, the sound-world sits almost half way between
the romantic but lush Liszt and the more disciplined and Germanic
Brahms. The piano part is also less coloratura than the former.
Its more restrained nature is understood more easily if one
remembers that Dvořák was not a solo concert pianist writing
for his own instrument but rather someone who would take a
piano part in chamber music. The balance between the piano
and orchestra is closer to that between piano and chamber ensemble.
Whilst quite interesting this approach perhaps has the drawback
of not showing Aimard's very considerable talents to their
full extent.
This
recording of lesser-known works is interesting for putting
Dvořák firmly into the Slavonic musical tradition, and
hence provides a fresh insight into his composition. Undoubtedly,
these are strong performances by world-class players with excellent
modern technology used to create the disc. However, there are
times when one cannot help but think that there are good reasons
why lesser-known works are less-known. Dvořák has written
better stuff than this - that is why it is better known. Wider
airing of his lesser works may not in fact enhance his reputation
as a composer, even perhaps the opposite.
I
am going to make a slight grumble about the accompanying materials.
Whilst reasonably informative notes about the works are translated
into English, French and German, no notes or information are
give about the performers. Whilst they may perhaps be considered
too well known to require any further introduction, this is
a slightly arrogant assumption. Some comment about their interest
in or connection with these particular works would be of interest
to any reader, even one who is well acquainted with the current
classical music scene.
Those
interested in the symphonic poems, perhaps as part of a wider
Slavonic musical tradition, might want the 2-CD set by the
same orchestra and conductor which presents all four together
(Warner Classics 2564 60221-2). There is also
a set recorded by the Berlin Philharmonic under Simon Rattle
on
EMI
Classics
(5580192 - see
review).
Dvořák enthusiasts may find the
Dutch performance although good to
be rather tight and excessively controlled
and may prefer Slavonic performances,
such as the Czech Philharmonic/Libor
Pesek, available at a good price from
Virgin Classics (VB 5618532), giving
all of the symphonies and some of
the tone poems on eight discs. Their
recording might be argued to have
more heart, although less precision
in both playing and engineering. There
is also a 2005 release of a 1950 recording
by the same orchestra, this time under
Vaclav Talich, which combines the
piano concerto with Frantisek Maxian
with the cello concerto with Rostropovich
on Supraphon (SU38252), an appealing
mid-price selection.
Completists
or serious enthusiasts of the composer who enjoy this performance
might like to know that it is also available as part of a set
of complete Dvořák concertos released by Warner in 2004
for the composer's centenary, 2564615282 (see
review).
There it is accompanied by some very fine performances from
world-class
musicians.
In view of this and its coverage it is a bargain. Personally
I would prefer to obtain the Warner boxed set of the concertos,
and should I wish a recording of the tone poems, which are
less to my personal taste, then I would go for the Harnoncourt’s
2CD Warner Classics set in preference to the slightly incongruous
pairing of this disc.
Aimard
fans may want this disc for the sake of completeness, but may
otherwise prefer to obtain recordings which provide a better
showcase for his talents. Although he is a soloist I always
enjoy, and particularly in live performance, he is at his best
in French and Hungarian music most especially in his distinguished
interpretations of Ligeti and of Messiaen (the husband of his
teacher). The recording of his Carnegie Hall recital (Teldec
0927430882) remains an excellent showcase of what he does best.
This disc, although well played, cannot ever gain that particular
distinction.
Julie
Williams
Pierre-Laurent
Aimard (piano) 
