Fifteen Preludes from Op.34 for cello and piano (transcr. Rem Urashin) [23:09]
Sergei RACHMANINOV (1873-1943)
Songs transcribed for cello and piano (transcr. Rem Urashin) [27:46]
Boris Andrianov (cello)
Rem Urashin (piano)
rec. 2010, Gnessin Music College, Moscow, Russia
QUARTZ QTZ2107 [51:01]
More than most composers Shostakovich had a public and a private face
in musical terms. The public face was largely influenced by the demands
of the Soviet State which required music to be “at the service of
the people”. This is a seemingly laudable aim but as always when
states dictate such matters the aim translates into meddling and often
results in stultification. Really great composers such as Shostakovich
will always find a way through the exigencies placed upon them and still
produce works of lasting value. A good example of that is his Fifth Symphony
that despite being “a Soviet artist’s reply to just criticism”
has become a firm favourite with concert audiences everywhere. The private
face, on the other hand, is one that enables people under pressure to
write in such a way as to remain faithful to their innermost feelings.
Musically it means that they can express themselves in such a way that
would be impossible otherwise, communicating thoughts and feelings that
are picked up by sensitive audiences for whom the messages are all too
clear. Thus one of Shostakovich’s greatest admirers, Benjamin Britten,
is quoted in the accompanying notes as saying “... much as I admire
the symphonies and the opera, to me Shostakovich speaks most closely and
most personally in his chamber music ... when he wishes to communicate
intimate thoughts to ... people unknown to him, who have souls sensitive
to ... (people from all over the world, whatever race or colour). And
for this one doesn’t need the mass of full chorus or orchestra and
the big halls and theatre ...”.
Among Shostakovich’s most personal statements are his string quartets
and his solo piano works. It is to these latter that the Russian pianist
Rem Urashin turned. This disc presents his reinterpretations of a selection
of the composer’s preludes from his op. 34 set which Urashin transcribed
for cello and piano. Though there already exists Tsyganov’s transcriptions
for violin and piano these by Urashin place the piano in a more equal
role rather than that of mere accompanist. The result is a fascinating
view of these brilliant pieces that enables them to be heard in an entirely
new way.
In a previous Rachmaninov review I quoted his anxieties about composition:
‘I feel like a ghost wandering in a world grown alien’ adding
that ‘I cannot cast out the old way of writing, and I cannot acquire
the new. I have made intense efforts to feel the musical manner of today,
but it will not come to me’. He was concerned that he was living
at a time of change in music when, as one of what he perceived to be the
last romantic composers, his music would not sit so well alongside that
of his colleagues Prokofiev and Stravinsky and might fall into obscurity;
he need not have worried. Aged just 20 he penned his op.4 set of six songs,
three of which are represented here along with other examples he wrote
over the following 22 years. Rachmaninov’s ability to portray longing
was a particular strength and the songs are magnificent in that regard.
With the cello as the ‘voice’ these transcriptions get to
the very essence of the songs’ appeal. They seem such an absolutely
obvious choice for such treatment that it is easy to forget they were
ever songs. It is impossible to pick out any highlights as each is as
beautiful as the last.
Winner of the first prize at the Moscow International Chopin Youth Competition
in 1992, aged 15, pianist Rem Urashin is joined by cellist Boris Andianov
himself a Laureate when aged 16 at the First Tchaikovsky Competition for
young musicians. While not yet household names these two are a dream-team
in repertoire such as this turning in performances that impress with their
consummate musicianship. This is a disc that will surprise and delight
in equal measure.
Steve Arloff
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