Grandes Etudes de Paganini [27:39]
Johannes BRAHMS (1833-1897)
Paganini Variations [26:33]
Witold LUTOSŁAWSKI (1913-1994)
Paganini Variations [4:57]
Sergei RACHMANINOV (1873-1943)
Paganini Rhapsody [26:01]*
Tzimon Barto (piano)
Schleswig-Holstein Festival Orchestra/Christoph Eschenbach *
rec. 15-17 September 2009 (Liszt, Lutosławski); 22 March 2009 (Brahms), Onder de Linden, Valthermond, Netherlands; 16 July 2010 (Rachmaninov) Musik-und Kongresshalle Lübeck, Germany
ONDINE ODE1230 [59:21 + 26:01]
Quite why the theme from the twenty-fourth Caprice of Paganini
has held such an obsessive fascination for composers utterly eludes
me. I find it unremarkable and vapid, but that’s obviously
my problem. That’s not to say that some composers have not
done some very imaginative things with it. Tzimon Barto’s
programme centres on piano works which have taken as their starting
point and basis this Op. 1 theme.
He begins with Liszt’s Six Grandes Etudes de Paganini, composed
in 1838 and revised thirteen years later in 1851. It is in this
revised version that we tend to hear them today. Having said that,
they are not as frequently programmed or as well known as the
Transcendental Etudes. Each is a transcription or paraphrase of
a Paganini Caprice, with the exception of no.3 La Campanella,
which is taken from the finale of the Second Violin Concerto.
They provide a vehicle for Barto to brandish his impressive technique.
With tremolos, scale passages and double octaves these studies
constitute some of the most technically difficult music in the
piano repertoire. Liszt was not going to be outdone by the violinist/composer.
Barto’s is a satisfying performance not only displaying
pyrotechnical skill but also an understanding of the structure
and architecture of the music.
In his two books of Paganini Variations, Brahms embraces the fiery
virtuosity of Liszt. Barto’s infallible technique is ably
suited to a work such as this. Comparing the recording with Katchen’s
I found Barto’s much better paced. Katchen’s I found
too fast and almost aggressive. I like the way Barto colours the
variations, with deft use of pedal, exploring the sonorities of
the piano. He never sounds mechanical but his playing is suffused
with poetic insights, where required. Throughout he is rhythmically
adept with a wide dynamic range. Technical difficulties are effortlessly
overcome or so he makes it seem. I was pleased that each variation
is tracked separately, which is definitely an advantage –
not so with many recordings.
The Lutosławski is a work I have never heard before. It was
conceived as a two-piano piece, but here Barto plays both parts
using the playback method of multi-tracking. It is an accomplished
tour de force, fertile, original and innovative. Showcasing
Barto’s skills, at only five minutes in length, it makes
a welcome addition to the pianist’s programme in all its
brilliant bravado.
Rachmaninov’s Paganini Rhapsody shows imaginative and compositional
flair. With brilliant orchestration, pianistically virtuosic writing,
and an advanced compositional style, in comparison with his other
piano concertos, this work needs a good pianist and orchestra
to bring it off successfully. With spiky orchestration, I love
the way Rachmaninov weaves into the score the Dies Irae
as a contrast. Barto definitely meets the challenge. Eschenbach
is a responsive partner and manages to inspire this wonderful
orchestra to scintillating effect. With beautiful rich string
sound, diaphanous woodwinds and burnished brass, the mix couldn’t
be better. Also, the balance between orchestra and soloist is
ideal. Most listeners to this recording, as in the concert hall,
will be eagerly awaiting the ‘big tune’ of Variation
18. Barto effectively builds up the suspense and tension in the
preceding two variations, but then what happens? Suddenly, for
some inexplicable reason, the tempo almost grinds to a halt. I
don’t doubt that the pianist loves this melody, an inversion
of the Paganini theme, as many people do, but the end result is
too luxuriant, self-indulgent and lingering. With an excess of
rubato, the tune almost becomes a parody, and I came away feeling
that a good performance had been sabotaged. A pity. I’ll
stick with my Ashkenazy/LSO/Previn.
Sound quality for the solo items is second-to-none, with the Netherlands
venue providing an ideal, spacious and warm acoustic. In the Paganini
Rhapsody, recorded in Lübeck, Germany, the engineers have
achieved an exemplary balance between piano and orchestra. The
booklet contains informative notes in English and German.
Stephen Greenbank
Masterwork Index: Rachmaninov
Rhapsody on a theme of Paganini
Support
us financially by purchasing this disc from |
|
 |
 |
 |
 |