Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Piano Concerto No. 1 in B-flat minor, Op. 23 (1875, rev. 1879, 1888) [36:15]
Modest MUSSORGSKY (1839-1881)
Pictures at an Exhibition (1874) orch. Ravel [32:40]
Jorge Bolet (piano)
NDR Sinfonieorchester/Günter Wand
rec. 19-20 September 1982 (Tchaikovsky), 13-14 November 1985 (Mussorgsky),
Hamburg Musikhalle, Germany
Günter Wand - Edition - Vol. 20
PROFIL EDITION PH09029 [69:03]
The year 2012 marks the one hundredth anniversary of the birth of German conductor
Günter Wand (1912-2002). This volume 20 is the final release in the first
Günter Wand edition. It comprises two live recordings with the NDR Sinfonieorchester
(North German Radio Symphony Orchestra) of Hamburg from Wand’s tenure
as their principal conductor. It was with the NDR that Wand recorded the complete
symphonies of Beethoven and Brahms and to considerable acclaim. The Tchaikovsky
herewas recorded in 1982, the year that Wand took over as principal
conductor and the Mussorgsky/Ravel three years later.
Wand was over seventy before his talents became recognised internationally.
His relatively few commercial recordings involved considerable duplication
of his much loved Bruckner, Beethoven and Schubert. Wand’s repertoire
was actually considerably wider than those three giants of the Austro-German
symphonic tradition. Many of Wand’s numerous early broadcast tapes were
lost when they were wiped and the reels re-used. It was only in the 1950s
and early 1960s when the practice of wiping tapes ceased and broadcast recordings
began being archived. This CD uses previously unreleased radio tapes.
One of the most famous of all piano concertos is Tchaikovsky’s Piano
Concerto No. 1. It is hard to believe today that pianist Nikolai Rubinstein
when he first played through the score was sharply critical of Tchaikovsky’s
writing and suggested various amendments. Undeterred, although upset, Tchaikovsky
dedicated the score to Hans von Bülow and published it as it stood. The
première was given by soloist Hans von Bülow at the Music Hall
at Boston during a tour of the USA in 1875 and was given a warm reception.
Despite his initial reservations Nikolai Rubinstein went on to play the concerto
many times. In this live performance the soloist is Jorge Bolet, the legendary
Cuban/American pianist who was a close contemporary of Wand. Bolet was one
of a select group of the so-called ‘great Romantic tradition of pianism’
that included Vladimir Horowitz, Shura Cherkassky, Arthur Rubinstein and Earl
Wild. Bolet’s recorded legacy will be best remembered mainly for his
famous Liszt recordings for Decca. Good as they are this is probably unfair
as his repertoire was far broader than Liszt. The iconic introduction to the
B-flat minor concerto is as searingly romantic as one could imagine.
Bolet’s playing is of such emotional intensity that it sent a shiver
down the spine. Crisply articulated and beautifully paced, Bolet never needs
to resort to histrionics. Here it is easy to image him sitting poised and
confident at a concert grand, possibly his favoured Baldwin or a Bechstein.
Aided by the warm recording the strings of the NDR sound simply stunning.
There is a hushed quality of poetry to the slow movement with Bolet lightly
stroking the keys with palpable tenderness, almost creating a hypnotic spell.
For some reason the music evoked for me Warwick Goble’s illustrations
from Charles Kingsley’s children’s book The Water Babies.
In theAllegro con fuoco, finale Bolet’s ingredients of
energy, precision and expression are a potent blend. Everything feels impressive
and secure in Bolet’s hands with Wand’s NDR Symphony Orchestra
on top form throughout. This is one of the most satisfying accounts I have
heard.
Mussorgsky in 1874 wrote his piano suite Pictures at an Exhibition
inspired by a posthumous exhibition in St. Petersburg of paintings and drawings
by his friend Victor Hartmann who had died suddenly the previous year. After
Mussorgsky’s death the piano suite proved exceptionally popular in the
orchestral transcription that Maurice Ravel prepared in 1922. This piece of
dazzling and richly-scored orchestral writing, a kaleidoscope of colour, makes
a splendid showpiece for the NDR. In Ravel’s wonderful orchestration
an assured Wand displays his skill in moulding the score’s myriad moods,
diverse tempos, broad dynamics with brilliant musical colouring. From the
first Promenade an immediate impression is made by the striking brass
and the golden-sounding strings of the Hamburg orchestra. Dark and eerie,
Wand’s depiction of The Gnome features colourful percussion
and in The Old Castle I loved the troubadour’s mournful lament
delightfully played with exotic saxophone textures and colourful woodwind.
In the Tuileries tableau depicting the famous visitor gardens in Paris
I appreciated the light and playful woodwind figures and the swooning strings.
My all time favourite tableau is the writing of the Bydlo (ox-cart)
a magnificent portrayal of a peasant wagon drawn by oxen. I adore the effect
of the Bydlo ever so gradually coming into view and slowly passing
by before disappearing into the distance. Wand’s interpretation feels
sturdy and dark conveying a sense of dire fatigue and world-weariness. This
music is so glorious there must have been someone significant, maybe a famous
fugitive hiding under the wagon’s covers.
In the memorable tableau the Ballet of Chicks in their Shells the convincing
woodwind interplay is justly light, lively and playful. The tableau of Samuel
Goldberg and Schmuyle is a portrayal of two Polish Jews. Prosperous and
pompous Goldenberg is represented by dark and serious low strings whilst Schmuyle
is characterised by a striking trumpet solo that depicts the bleating of the
cowering vagabond. Featuring marvellous brass playing the tableau Catacombae
(Sepulcrum romanum) a disturbing depiction of the Parisian Catacombs.
Its low, dark and terrifying sounds represent a chilling exploration by lantern
that illuminates a cage of ancient skulls that begin to glow.I have
written this before about Wand’s interpretation of The Great Gate
of Kiev which is a spectacular statement and a magnificent and vivid depiction
of the imposing edifice. Here the majestic effect of the great tolling bell
is somewhat overshadowed by the heavy percussion and brass.
Wand continues to delight and enthral his audiences with a programme of Tchaikovsky
and Mussorgsky that has been wonderfully recorded by the radio engineers.
Like many others I never saw Wand conduct live in concert so these Profil
releases of his live performances serve as valuable documents of Wand’s
special talent.
Michael Cookson
Masterwork Index: Piano
concerto 1 ~~ Pictures
at an exhibition
Valuable documents of Wand’s special talent.