RECORDING OF THE MONTH
Bedřich SMETANA (1824-1884)
České tance I (Czech Dances) JB 1:107 (1877) [13:43]
České tance II, JB 1:114 (1879) [43:10]
Na břehu mořském – Vzpomínka (On the seashore –
A reminiscence) JB 1:80 (1861) [5:20]
Garrick Ohlsson (piano)
rec. 9-11 January 2015, Henry Wood Hall, London, UK
Reviewed as a Studio Master download from Hyperion
Records
Pdf booklet included
HYPERION CDA68062 [62:13]
When I first heard Garrick Ohlsson in the Busoni piano concerto
25 years ago I’d no idea he’d morph into the ‘pianistic
prestidigitator’ we know today. Indeed, I make a point of seeking out
his new albums; I’ve already praised his Scriabin
and Griffes,
the latter one of my top picks for 2013. Now he turns to the solo piano music
of Bedřich Smetana, a composer best known for his operas, orchestral
and chamber music. I suspect his two books of Czech Dances and the
concert étude On the seashore are new to most listeners; they certainly
are to me, which makes this one of my ‘innocent ear’ reviews.
There’s very little competition here; Jan Novotný recorded the second
book of dances in 1972 (review),
and Jitka Čechová did the full set in 2007 (review).
Both are from Supraphon, whose Smetana series has now reached volume 6 (review).
As for On the seashore it’s included in Kathryn Stott’s
Chandos collection, which dates from 2006 (review).
Reading my colleagues’ comments on this music I came away with the distinct
impression that the Czech Dances are Smetana’s best pieces
for solo piano. That, coupled with Ohlsson’s keyboard wizardry, augurs
well for this new release.
As Nigel Simeone points out in his detailed liner-notes, Smetana was fascinated
by the polka from an early age; the Bohemian country dance, which first appeared
in the 1830s, became something of an urban craze in the decade that followed.
Smetana’s Czech Dances: Four Polkas for piano, written in 1877
and published in 1879, are astonishing creations. Confident, full-bodied and
beautifully wrought they are played here with all the warmth and rhythmic
subtlety one could wish for. Then again, I’d expect nothing less from
Ohlsson. Ditto Hyperion, who have pretty much cornered the market in superb
solo piano recordings.
In this pianist’s hands the first polka in Book I has a jewelled loveliness,
the second a blend of wistful circularity and unashamed virtuosity; both are
played with affection and a fine ear for outward shape and inner detail. In
the third polka one has to marvel at Ohlsson’s deftness – a combination
of sophisticated touch and a seemingly intuitive feel for every phrase and
dynamic shift – not to mention his unfailing ability to give each piece
its own, well-defined character. The gentle musings that permeate the final
polka are a case in point; as before there’s room for peacock displays
as well, and Ohlsson is always good at those.
The second book of dances – ten in all – celebrates the vigour
and diversity of Czech and Moravian dance forms. Smetana was aided in that
fashionable enterprise by his neighbour, a retired teacher called Suchý. Smetana
really flings the casement wide with this collection, letting in a veritable
riot of rhythm and colour in the process. The opening Furiant –
marked Presto – finds Ohlsson at his barnstorming best; indeed,
the decibel count is frankly intimidating at times. That said, Ohlsson isn’t
one of those self-seeking artists who seizes on the moment simply to generate
a quick buzz; instead, he takes a broader, more considered view, and that
creates a wonderful sense of scale and purpose.
These are rare, sought-after skills, to which must be added his ability to
eke out every nuance or inflection in a given score; with these dances he
also manages to reintroduce motifs in a way that seems utterly natural and
spontaneous. In short, these are very organic performances, where
each part is given due weight and the whole has pleasing proportions. This
is not just about impeccable execution, as there’s far more to these
delightful miniatures than mere technique. Take the second piece, The
little hen, where superb articulation is supplemented by a quick wit
and a rather endearing sense of humour.
There’s always a risk in ‘bitty’, single-genre programmes
that the listener’s interest will peak too soon. Happily, that’s
not the case here, for Smetana gives us plenty of variety, one piece complementing
the next in both mood and tempo. Take Oats, for instance; marked
Andantino, its gentle cadences come as a welcome respite after that
earlier brilliance. In turn this is followed by the fearsome paw swipes and
dark lumberings of The Bear. Even in the face of such assaults the
recording shows no sign of stress or strain. Engineer Phil Rowlands has done
an exemplary job with this one.
From the contrasting charms of The little onion – what a thrilling
bass – to the remaining pieces there’s much to quicken the pulse
and delight the ear. Take the atavistic Dupák for a start; it teems
with inner detail, which makes for music of orchestral weight and complexity.
True to form, Smetana then gives us the Schubertian tones and temperament
of The lancer. Ohlsson does that lilt so well, the whole piece shaped
and propelled with uncommon clarity and a sure sense of style. As for the
concluding dances – Obkročák, Sousedská and Skočná
– they’re despatched with an all-conquering brio that’s
apt to leave one slack of jaw and weak of knee.
The final piece on this album is Na břehu mořském – Vzpomínka
(On the seashore – A reminiscence). Written in 1861 it’s a moody
take on the waves near Gothenburg, Sweden, where Smetana lived for a time.
The usual laps and burbles won’t come as a surprise – it’s
formulaic stuff – but the dark, tempestuous writing is guaranteed to
impress. Indeed, the faithful timbres and fearless dynamics of this concert
étude make it a perfect demo track for anyone putting a system through its
paces. As for the performances – well, they’d surely buckle under
the weight of added praise.
Lesser-known Smetana played with all the ardour and advocacy it needs; the
sound is class-leading, too.
Dan Morgan
twitter.com/mahlerei
The Czech Dances
Book I
No. 1 Polka in F sharp minor: Non molto allegro [3:26]
No. 2 Polka in A minor: Moderato [2:44]
No. 3 Polka in F major: Allegro [3:40]
No. 4 Polka in B flat major: Lento [3:53]
Book II
No. 1 Furiant in A minor: Presto [5:30]
No. 2 Slepička (The little hen) in B flat major: Moderato [3:27]
No. 3 Oves (Oats) in A flat major: Andantino [5:16]
No. 4 Medvěd (The bear) in C major: Allegro [3:21]
No. 5 Cibulička (The little onion) in G minor: Moderato [4:56]
No. 6 Dupák in D major: Vivacissimo [3:37]
No. 7 Hulán (The lancer) in A major: Andantino [5:21]
No. 8 Obkročák in E flat major: Allegro [3:11]
No. 9 Sousedská in B major: Moderato [4:50]
No. 10 Skočná in F major: Vivace [3:41]
Support us financially by purchasing this from |
|
 |
 |
 |
 |