Grigory Sokolov (piano)
At Esterházy Palace
rec. live, 10 August 2018, Haydnsaal, Schloss Esterházy, Eisenstadt, Austria
Picture Format: 1080p High Definition 16:9, Region Code: All Regions
Sound Formats: PCM Stereo, DTS-HD Master Audio 5.1
Menu Language: English
DEUTSCHE GRAMMOPHON 4861849 [2 CDs: 122:52 + Blu-ray: 127:33]
The beautiful Haydnsaal at the Esterházy Palace in Eisenstadt is the venue for this live recital by the Russian pianist Grigory Sokolov, taped on 10 August 2018. The repertoire has been aptly chosen with the location in mind. Haydn spent more than three decades in his post as kapellmeister to the Esterházy princes, and it was during this fruitful period that he composed many of his symphonies, choral works, string quartets and piano sonatas. So, the first part of the recital features three of Haydn’s sonatas, all in minor keys, two of which are also titled divertimentos. The other composer, also associated with Eisenstadt, is Franz Schubert. In 1828, together with his brother Ferdinand, the composer undertook a three day pilgrimage, on foot, to visit Haydn’s grave in Eisenstadt. In the second part of the recital, Sokolov performs Schubert’s Four Impromptus, D935, written a year before his untimely death. The pianist has already recorded the earlier D899 set on a previous DG release (4795426), which I reviewed back in 2016.
The pianist has chosen three of Haydn’s minor key sonatas for the first half of the programme. The G minor is in two movements and exudes intimacy, wistfulness and pathos. I’m especially enamoured by the delicacy of the florid ornamentation in the final Menuetto. Sokolov launches straight into the three movement B minor sonata. It’s an unusual work. In the centre, instead of a slow lyrical movement, there’s a minuet and trio. The minuet sparkles in the major key, whilst the trio is in the startling minor mode, grim and grinding in constant 16th-note motion. When the minuet returns, Sokolov adds a few delicious ornaments and trills to spice things up and supply an element of contrast. A chattering finale with some sparkling rapid fingerwork, immaculately executed, ends the sonata in a breathtaking flourish. The Piano Sonata No 49 Hob. XV1:36 is in the key of C-sharp minor. The opening movement has some complicated rhythmic patterns, which the pianist deftly articulates. The Scherzando middle movement breaks the seriousness with some light-hearted banter. The final movement is a melancholic Minuetto.
Schubert’s Four Impromptus, D 935 have an overall unity and key sequence that they could almost be called a sonata. We continue in the minor key in the first of them. The F minor is a substantial work at almost fourteen minutes. It alternates Beethovenian drama with flowing lyricism, and the contrasts are strongly factored into Sokolov’s performance. The A-flat (No 2) offers a pleasing contrast with its genteel refinement, with the triplets of the trio providing an untrammelled wave of lyricism. The 3rd Impromptu on the ‘Rosamunde’ theme is a delight, with each variation sensitively sculpted, and the transitions between each smooth and seamless. The final variation glistens with pearl-like runs. No 4 in F minor, in the Hungarian-style, is exhilarating, and is delivered with vitality and rhythmic energy.
As in all his recitals, Sokolov is generous with his encores. He chose six on this occasion. We return to Schubert for the first – the Impromptu in A-flat major, D899 No 4. Rameau’s Le Rappel des Oiseaux demonstrates the pianist’s skill in unobtrusive, stylish and idiomatic ornamentation. Chopin’s Prelude Op 28 No 15 in D-flat major ‘Raindrop’ has some exquisite phrasing. Alexander Griboyedov, a new name to me, composed the delightful Waltz in E minor. The final encore, Debussy’s Des pas sur la neige (Prelude Book 1 No 6) showcases Sokolov’s range of colour, achieved by pedal and touch.
The Blu-ray is a bonus (specifications below), and enables the purchaser to get a flavour of the live event as the audience experienced it. You will immediately notice that Sokolov’s Steinway has ‘HINVES’ written on the side. This refers to Patrick Hinves Ballesta who has tuned, voiced and serviced the piano. There’s no fuss around Sokolov, his only focus is on the music and, like Horowitz, there’s a lack of bodily movement. This single-minded approach informs the way he approaches and departs from the piano. Indeed, on the two occasions I was privileged to hear him live in concert, I found his demeanour somewhat stern. Nadia Zhdanova, and her assistant Maria Novikova have done a sterling job as regards direction. The plush camera work and opulent camera angles are in no way intrusive, and offer variety. Pianists will marvel at the close-ups of the hands. Michael Serberich, the audio engineer, should also be praised for the first class sound quality which allows us to fully savour the pianist’s masterful playing.
DG can pride itself on producing recordings with the very finest sound quality. These well-performed readings are recorded with the minimum of audience noise, with appreciative applause confined to the ends of the Haydn and Schubert selections and at the end of each encore. The booklet is embellished with photos of the pianist and the stunning baroque interior of the Haydnsaal. I've nothing but the highest praise for this release, and it’s deserving of the strongest recommendation.
Stephen Greenbank
Previous review: David McDade
Contents
Joseph HAYDN (1732-1809)
Piano Sonata No 32 in G minor, Hob.XVI:44 [14:54]
Piano Sonata No 47 in B minor, Hob.XVI:32 [16:27]
Piano Sonata No 49 in C-sharp minor, Hob.XVI:36 [18:05]
Franz SCHUBERT (1797-1828)
Four Impromptus, Op 142 D935 [33:50]
Encores
Franz SCHUBERT
Impromptu No 4 in A-flat major, Op 90 D899 [8:31]
Hungarian Melody [4:07]
Jean-Philippe RAMEAU (1683-1764)
Le rappel des oiseaux [3:01]
Frédéric CHOPIN (1810-1849)
Prelude No 15 in D-flat major 'Raindrop', Op 28 [7:07]
Alexander GRIBOYEDOV (1795-1829)
Waltz in E minor [2:28]
Claude DEBUSSY (1862-1918)
Des pas sur la neige [4:22]
