John Lill was one of the first pianists I heard live – nearly
40 years ago – but for some reason I’ve not heard much of him
since, either on record or in the concert hall. One CD that
stands out is his reading of Malcolm Arnold’s Fantasy on
a Theme of John Field, with Vernon Handley and the Royal
Philharmonic on the now defunct Conifer label (CDCF 224) but
also in the Decca
Arnold Edition. It’s a strong, stylish performance of a
piece that really ought to be better known, Lill commanding
respect and attention without drawing undue attention to his
splendid technique. When it comes to Rachmaninov he’s the very
antithesis of, say, Nikolai Lugansky, whose big, bold versions
of Opp. 33 and 39 – review
– are nakedly virtuosic and, after a while, a tad relentless.
CD 1 kicks off with Rachmaninov’s second piano sonata,
as ‘revised and reduced’ by the composer in 1931. Immediately
I was struck by Lill’s supple delivery, which has plenty of
sinew in climaxes. In quieter moments one might be tempted to
think this music rather French, but there’s no denying the raw,
Russianate cast of the grander ones. That said, the Nimbus recording
is sensibly miked, so weight and detail are easily discerned
without resorting to an aggressive, upfront presentation. The
second movement is poetic and passionate, Lill striking a good
balance between Florestan and Eusebius. In the Allegro molto
Florestan is untrammelled, and one can’t fail to be awed by
the sheer heft of Lill’s pianism, more so as power is never
peddled at the expense of overall shape or inner detail.
Also included on this disc are the pieces based on themes by
Corelli and Paganini; In the former Lill finds a pleasing equilibrium
between baroque clarity and grace on the one hand and impetuous
Romanticism on the other. Indeed, even-handedness is the guiding
light of this collection, a welcome change from the oft-overheated,
attention-seeking pianism one hears these days. As for the Paganini
Rhapsody it has plenty of point and sparkle, but some may find
the orchestra lacking in warmth and body; one could say the
same about the piano, which is inclined to fierceness in the
treble. Otherwise this is a perfectly respectable performance,
if not as thrilling or as probing as Earl Wild and Jascha Horenstein’s
classic account on Chandos.
You can also hear Lill in the four piano concertos on another
well received Nimbus
set.
CD 2 is devoted to the Opp. 33 and 39 Etudes-Tableaux,
taut of rhythm and, in the mercurial No. 2 of Op. 33, wonderfully
fluid. And while the piano sounds closer than before it’s not
overwhelmingly so; still, Rachmaninov’s power chords and climaxes
can be a tad intimidating at times. In many ways Lill is at
his most beguiling in quieter, more rhapsodic pieces – sample
the bell-like figures at the heart of Op. 33 No. 3 – but then
he’s simply dazzling in the fiery Op. 33 No. 7. The Op. 39 set
are no less impressive, No. 1 as testosterone-engorged as I’ve
ever heard it, the A minor Lento (No. 2) both emphatic and eloquent.
And just listen to the infectious, Tchaikovskian rhythms of
No. 4, the music admirably shaped and projected. All share that
winning blend of fluency and thrust, Lill careful not to overdrive
the dynamo that animates No. 8 or turn the pounding chords of
No. 9 into jack-hammers.
In collections of this kind I’m always wary of a creeping sameness,
a tendency to replace insight with bludgeon and bluster; I’m
pleased to say there’s none of that here. Certainly not in CD
3, which contains the Opp. 23 and 32 Preludes.
For me they represent the composer at his most intimate and
intimidating; for instance, Op. 23 No. 2 is a terrifying mill-race,
unerringly navigated, No. 4 a deceptive pond beneath which a
powerful current still tugs amd teases. And how haughty the
rhythms of No. 5, how brightly polished the little E flat minor
(No. 9). Of the Op. 32 set, No. 5 is one of the most alluring,
Lill finding just the right blend of gentle pictorialism and
rhythmic rigour. Again, the piano is close, but it never becomes
harsh or overbearing; still, the Preludes are best
heard in separate sittings, for they are formidable works formidably
played.
CD 4 begins with a nicely nuanced reading of the famous
Prelude in C sharp minor, which has just enough of
that necessary – and thrilling – bass weight. Dynamically it’s
convincingly contoured, a perfect precursor to the slightly
later Six Moments musicaux. Even here there’s an alacrity
and confidence to the writing that’s mirrored in Lill’s handling
of its changing moods and rhythms. At every turn this pianist
outlines and illuminates, helped in no small measure by the
clear – but very revealing – acoustic at Wyastone Leys. This
collection ends with a compelling performance of the first sonata,
which is hardly less accomplished than the later one. And to
add to his many talents, Lill finds space and nobility in the
Allegro moderato, long-breathed loveliness in the Lento and,
in the Allegro molto, a mix of fire and ice. A perfect summation
of Rachmaninov’s art and Lill’s interpretive range.
It’s never been a better time to buy cheap CDs – especially
bargain sets like this one – as record labels saturate the market
with material from their back catalogues. In the case of boxes
there’s often too much chaff mixed in with the wheat, but I’m
pleased to report that, with the possible exception of the rhapsody,
that doesn’t apply here.
Good playing, good recording and good value; don’t hesitate.
Dan Morgan
http://twitter.com/mahlerei
Track-listing
CD 1
Sonata for Piano No. 2 in B flat minor, Op. 36 (1913,
rev, 1931) [27:15]
rec. 19 January 1994, Wyastone Leys, Monmouth, UK
Variations on a theme of Corelli, Op. 42 (1931) [19:40]
rec. Wyastone Leys, 15 January 1996
Rhapsody on a theme of Paganini, Op. 43 (1934) [23:44]
BBC National Orchestra of Wales/Tadaaki Otaka
rec. Brangwyn Hall, Swansea, 8 June 1995
CD 2
9 Etudes-tableaux for Piano, Op. 33 (1911) [24:50]
9 Etudes-tableaux for Piano, Op. 39 (1917) [39:09]
rec. Wyastone Leys, 25-26 January 1995
CD 3
10 Preludes for Piano, Op. 23 (1901-1903) [34:25]
13 Preludes for Piano, Op. 32 (1910) [41:03]
rec. Wyastone Leys, 19-20 December 1996
CD 4
5 Morceaux de fantaisies, Op. 3 No. 2: Prelude in C
sharp minor (1892) [4:37]
6 Moments musicaux, Op. 16 (1896) [31:23]
Sonata for Piano No. 1 in D minor, Op. 28 (1907) [41:00]
rec. Wyastone Leys, 26-27 March 1997
John Lill (piano)