I wrote a little of
Magin in my review
of his solo piano music which was strong
on native Polish dance rhythms and influenced
in places by Prokofiev. Here we have
two concertos which are avowedly reflective
of certain influences, among them Prokofiev
again, but which manage to retain independence
of spirit and form.
The 1964 Piano Concerto
is a sprightly work, brightly recorded.
It abounds in florid ascending scale
and solo delicacy and in the slow movement
reveals a limpid delicacy that reminds
one of Ravel. There are also hues of
Rachmaninov (Second Symphony) in the
violin writing and, when Magin spares
down the accompaniment, there are Bachian
intimations as well. The finale is a
fresh, lissom open-air jaunt, hinting
at neo-classical Parisian vortex. This
is merry and good-natured writing, with
plenty of unashamed Romantic chordal
flourishes for the soloist and an Oberek
dance – a favourite of Magin’s – to
whisk things happily away. If you enjoy
unashamed music-making, unencumbered
by formulae and dictat, Magin makes
a most congenial companion. He’s romantic,
yes, with a touch of the cool Parisian,
but also a pinch of the neo-classical.
It works.
The Cello Concerto
is a later work and one once more
enters the Magin sound-world: optimistic,
enhancing, affirmative and joyful. The
energetic opening, basically neo-classical,
expands into some luxurious romantic
themes. Magin gives his soloist some
energetic passagework to negotiate and
as the movement develops there are hints
of the influence of Shostakovich in
some of the more satirical passages.
The slow movement is quite withdrawn;
distinctly Polish - though it reminded
me in places of Glazunov – and employing
the kujawiak dance rhythm. The finale
is based once more on the Oberek. Again
there’s a Shostakovich slant to some
of the rhythmic impetus and the stalking
lyrical lines but by contrast there’s
also a broadly optimistic patina, unshadowed
and unclouded.
Both
soloists revel in these scores. Verdier
spins out some grandiose romantic ardour
and Domżal combats some of the
more testing, intonation-sapping passages
in the Cello Concerto. Fine performances
all round then especially from the marshalling
figure of Jan Milosz Zarzycki. Warm-hearted
and generous music-making.
Jonathan Woolf
see also review
by Glyn Pursglove
Full
Acte Préalable Catalogue
Justine Verdier (piano) 
for
details
