Claude DEBUSSY (1862-1918)
Études L143 (1915) [46:43]
Serge PROKOFIEV (1891-1953)
Études Op. 2 (1909) [12:03]
Béla BARTÓK (1881-1945)
Études Op. 18 (1918) [7:50]
Garrick Ohlsson (piano)
rec. 2013, Henry Wood Hall, London
HYPERION CDA68080 [66:38]
Previously reviewed and admired in its download form by
Dan Morgan, this Études-only release is indeed something you might not expect
you will enjoy, but is more than likely to become one of your piano discs
of the year.
The words ‘piano’ and ‘études’ or ‘studies’
are all too often connected with less interesting music designed to lay the
foundations for pianistic technique, and indeed this is from where Debussy
launches his 1915 collection, opening with Carl Czerny’s basic ‘five-finger
exercise’ as a clear signal – here is where we come from, now
let me show you where I think we should be going.
Following the score while listening to Garrick Ohlsson’s performances
of these often fiendishly difficult pieces enhances the delight we can take
in his observation and interpretation of Debussy’s detailed markings.
The picking out of melodies in complex textures, dynamic relationships, articulation,
rubati and everything else – Ohlsson has absorbed it all and
integrated each layer of musical instruction into narratives that flow with
sensational colours and a superlative sense of natural development. We’re
as absorbed as listeners as the musician must be in traversing each technical
minefield, in awe of this aspect of the performer’s achievement, but
equally in awe of Debussy’s uncompromising brilliance as a composer
for his instrument.
Ever-changing atmosphere is delivered with impeccable touch, each note and
chord weighted perfectly. Ohlsson’s sense of proportion within each
piece and every bar of each piece is the thing that constantly draws you in
– more often unconsciously as not. Put simply, there are no distractions.
We can marvel at Debussy, encountering and processing the kind of avant-garde
artistry which had its effect on later generations such as Messiaen and Dutilleux.
From a composer towards the end of his life and artistic career we encounter
one still filled with youthful optimism in Prokofiev’s Études Op.
2. As a reaction against the conservatism of his St Petersburg Conservatory
teachers these pieces defy convention but are by no means difficult to listen
to, the composer’s facility at the keyboard clearly demonstrated as
much as his prodigious flow of musical inventiveness. Putting the Russian
character of these studies against Debussy’s essence of French-ness
is another fascinating contrast in terms of kinds of darkness, attitude to
the percussive nature of the instrument and the sheer nature of performing
as a public act: Prokofiev and Debussy being spectacular in entirely different
ways.
Least well known of these collections, Bartók’s Études Op. 18
take us somewhere entirely different again, a response against the influence
of Debussy as Prokofiev’s was against his conservatory teachers. Exploration
of rhythm and tonal/atonal nuance within pianistic techniques not unfamiliar
to fans of Liszt make these pieces a confluence of terrains both enigmatic
and Romantic with a big ‘R’. Roger Nichols in his booklet notes
sums up the third étude as something that “proves that atonal music
can be fun”, but in fact I don’t really hear any of these pieces
as truly atonal. If you think of the rich tonality-blurring chromaticisms
of Scriabin and Szymanowski and throw them into Bartók’s mix of percussiveness
and folk-rhythmic drive then this might give some idea of what I mean. In
any case, this isn’t serialist atonality.
I love Mitsuko Uchida’s recording of the Debussy Études (review)
which can still be found via a Decca originals re-release. This dynamic and
richly recorded stand-alone example has something of a CD-single feel to it
these days but is still worth every penny. Uchida’s dynamic extremes
and staggering virtuosity are remarkable, but I think Ohlsson wins in terms
of clarity, atmosphere and narrative cohesion. Roger Woodward’s Prokofiev
set on Celestial Harmonies (review)
including the 1909 Etudes is a valuable item indeed, his playing
in these pieces creating a grander but less transparent landscape. The Bartók
Études are less familiar but I’m happy to take Garrick Ohlsson
as my reference in this case. Whatever the alternatives, this Hyperion release
is a very happy gathering together of some truly remarkable music and musicianship
and tramples much of the competition .
Dominy Clements
Previous review:
Dan Morgan (Recording of the Month)
Support
us financially by purchasing this from |
|
 |
 |
 |
|