Igor STRAVINSKY (1882-1971)
Concerto for piano and wind instruments (1924) [20.05]
Capriccio for piano and orchestra (1928) [17.24]
Piano Sonata in F sharp minor (1904) [28.21]
Alexej Gorlatch (piano)
Rundfunk-Sinfonieorchester Berlin/Alondra de la Parra
rec. 12-15 May 2014, RBB Saal 1, Berlin, 19-20 November 2014, Studio Britz (Deutschlandradio)
SONY MUSIC 88875 121562 [66.15]
In 2011 Alexej Gorlatch, the soloist on this all-Stravinsky
album, won the piano category in the 2011 ARD Music Competition broadcast
by BR Klassik Radio. In the finals Gorlatch, a German-based Ukrainian, elected
to play Beethoven’s Piano Concerto No.3. I reviewed
the live recording of that performance released on BR Klassik and wrote “this
disc makes for an impressive first look at a remarkably talented performer.”
In both the concert hall and recording studio it’s the works from Stravinsky’s
Russian phase The Firebird, Petrushka and The Rite of
Spring that continually take centre-stage. Consequently a significant
number of Stravinsky’s high quality works struggle to break through
into the active concert repertoire. Certainly I rarely encounter Stravinsky’s
Concerto for piano and wind instruments and Capriccio for piano
and orchestra and in truth I don’t play the recordings as much
as their quality deserves.
During his so-called neo-classical phase Stravinsky’s passion was fired
by his study of the scores of Giovanni Battista Pergolesi. His ballet Pulcinella
composed in 1919/20 for Diaghilev’s Ballets Russes draws on
the melodies of Pergolesi - although much of the provenance is certainly spurious
- and uses Baroque structures with the character of the dance with neo-classical
rhythms.
From this neo-classical period emerges his Concerto for piano and wind
instruments (1923/24, rev. 1950) a score actually augmented by double
basses and timpani. Stravinsky appeared as a concert pianist for a number
of years although he persistently suffered from stage fright. In 1924 although
his playing was rusty he introduced his Piano Concerto as soloist
under Serge Koussevitzky in Paris. It was a work he went on to play numerous
times. In the opening movement of the Concerto following the brass-heavy
opening Largo dragging and morose Gorlatch springs eagerly into the
jazzy syncopated piano writing, lively, attractive and extremely compelling.
Gratifying also is the soloist’s sensitive playing of the central movement
Largo - determined yet sentimental by turns.
In 1928/29 Stravinsky wrote his Capriccio for piano and orchestra
(rev. 1949) another work he planned to play himself in concert. According
to writer Steffen Georgi, it seems that here Stravinsky was not only strongly
influenced by the music of Weber but also by Tchaikovsky. The Capriccio
has been described by biographer Michael Oliver as “a slighter work
than the Concerto, but also a more polished one…” It was Stravinsky
who introduced the score in 1929 in Paris under Ernest Ansermet. Gorlatch
understands the level of irony in Stravinsky’s writing which is evident
in the outer movements and his bright, stylish playing always feels responsive.
I am especially fond of the jazzy dance themes in the splendid Finale
that Gorlatch plays with such lithe vivacity. It feels completely spontaneous.
An early work from 1903/04 written whilst still a law student Stravinsky experienced
difficulty with his Piano Sonata in F sharp minor and turned to Rimsky-Korsakov
for assistance, becoming his private pupil. Pianist Nicolas Richter, who gave
the première in 1905, kept hold of the score which was unearthed in the Nicolas
Richter archive in the State Public Library, St. Petersburg. Although naturally
derivative of the style of Rimsky-Korsakov and his contemporaries this is
a work of easy charm and appealing tunefulness. It deserves the occasional
outing. Especially enjoyable is Gorlatch’s playing of the opening Allegro
that communicates an abundance of romantic longing. There's also an
Andante notable for its calm, reflective character.
Before this recording was planned I’m not sure how often soloist Alexej
Gorlatch had played these works. I suspect hardly at all which all adds to
the fresh feeling and a sense of a voyage of discovery. Under the baton of
Mexican conductor Alondra de la Parra the Rundfunk-Sinfonieorchester Berlin
provides taut, alert and eminently sympathetic orchestral accompaniment. The
unforced pacing selected by Mexican-American de la Parra is commendable and
her rhythms sound convincingly sprung.
The technical team excels and evidence of this is there to be heard in the
disc's cool, clear and well balanced sonics. The essay ‘Stravinsky
and the contrast principle’ was informative and easy to read.
Clearly a name to watch Alexej Gorlatch is an admirable soloist and his talent
shines brightly in these Stravinsky works for Sony.
Michael Cookson
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