Classical Editor: Rob Barnett


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Reviews from other months
LORA DIMITROVA. Piano Works. BACH, Partita No 4 in D minor BWV 828; BARTÓK, Six Dances in Bulgarian Rhythm (Mikrokosmos); SCHUMANN, Symphonic Studies Op 13.   Lora Dimitrova (piano) ESL 199801 [70' 44"]. Available from Annon Music Services, 44 Cromwell Road, Canterbury, Kent, CT1 3LE. Tel. +44 (0)1227 463867

 






No less a person than Sir Georg Solti said, "Lora is an outstanding pianist and an exceptionally fine musician." The distinguished composer Francis Routh was grateful to me for my introducing Lora to and he composed his Scenes for Piano IV, 'Bretagne', Op 68 for her. And this Bulgarian pianist is keen to perform British works; she told me that a performance of James Brown's Piano Sonata would have the same effect as Horowitz premiering the Barber Sonata; she is keen to play the Searle Sonata which she describes as 'stunningly original and astonishing'. When I heard her performance of Bartók's Piano Concerto No 3 and, later, Beethoven's Sonata in C minor Op 111, I was amazed at her insight into these works. Her skill and technique are irreproachable.

I was thrilled at her approach to the Bach; the opening movement especially was very tender. She does not play Bach with all those stylish quirks that are profoundly irritating such as almost grinding to a halt at cadential climaxes or at the end of a movement, or those emphasised trills and other ornaments. Here are performances that have a continuity and a clarity and, quite frankly, everyone should play Bach like this. When she plays chords each and every note is clear and they are not announced in a baroque style. The absence of the hindrances and impediments of 'style' lifts this music out of the mundane and into something truly delightful. Every note is placed with care. It is a beautiful performance and her tone is simply perfect. I repeat, everyone should play Bach like this.

The Bartók requires pianistic skills not required in baroque or classical repertoire. Maintaining demanding rhythms can be a serious pitfall but not so here. The sign of a truly great pianist is when the difficulties do not show. They don't here.

The Schumann is the most important work on the disc. The Thirteen Symphonic Studies are implemented by the additional five posthumous variations which Brahms rescued after Schumann's death. The work began as a theme and variations and seemed to depict Schumann's romance with Ernestine von Fricken. That the theme is a kind of funeral march may tell us about this romance or Schumann's depression at his foreknowledge of its eventual demise. Whatever may be the case, it is a fine work and avoids being a set of miniatures which some believe his Carnival Op 9 to be. The later work comes across as a whole.

Lora's reading is very secure; it is never ordinary but full of variety, colour and understanding. It is not just the notes that are known but the music itself. Lora brings out the beauty and elegance of the work and there is much to admire. Some of the music does tend to ramble and be too introspective and one may not always be in the mood for what may be Schumann's heart-searching.

But this performance takes us to the soul of Schumann and I know no pianist who ever did this before with this deeply felt score.

The recording is very clear although I would have preferred a little more bass ... but that is a minor point in a recital that has given a very rewarding personal experience.

Reviewer

David Wright

Performances

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Reviewer

David Wright

Performances

Recording

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