Antonin DVOŘÁK (1841-1904)
Piano Concerto in G minor, Op. 33 (1876) [40.18]
Bohuslav MARTINŮ (1890-1959)
Piano Concerto No. 4, H358 ‘Incantation’ (1956) [19.06]
Ivo Kahánek (piano)
Bamberger Symphoniker/Jakub Hrůša
rec. 2017 (Dvořák), live 17-19 January 2019 (Martinů), Joseph Keilberth Saal, Konzerthalle, Bamberg
SUPRAPHON SU4236-2 [59.34]
This Supraphon album brings together a pair of piano concertos by Dvořák and Martinů., one composer widely acknowledged as great and the other much admired but relatively lesser known and deserving of far wider circulation. Collaborating here with the music of these two Czech masters, are a soloist and a conductor both born in the Czech Republic. This is my first encounter with pianist Ivo Kahánek, whose compelling playing certainly grabs my attention. The Bamberger Symphoniker performs under its Brno-born chief conductor Jakub Hrůša, whom I have seen conduct the Royal Liverpool Philharmonic so successfully on a couple of occasions.
It is approaching one hundred and fifty years now since Dvořák wrote his Piano Concerto which, compared to his two other concertos, has endured neglect. Rather lacking in showpiece virtuosity, the score concentrates more on lyrical temperament. Vilém Kurz’s adaptation of the solo part achieved some endorsement but in recent decades it has become usual to perform Dvořák’s original score as Ivo Kahánek plays here. He proves to be a most expressive soloist, creating a real sense of drama. In addition, it doesn’t take long to realise that the orchestral playing of the Bamberger Symphoniker is first-class, quite splendidly conducted by Jakub Hrůša. In Kahánek’s hands, the central movement Andante sostenuto has a lovely feel with such tender playing, light and fluid, yet precise. Best of all, Kahánek is in irrepressible mood in the superb Finale: exhilarating, light and buoyant, packed with joie de vivre. Also using Dvořák’s original version of the score, the best-known recording of the Piano Concerto is the now classic 1977 account on EMI, played with such conviction by Sviatoslav Richter with the Bayerisches Staatsorchester under Carlos Kleiber, recorded in the Bürgerbräukeller, Munich.
Listening intently to this recording of Martinů’s Fourth Piano Concerto ‘Incantation’ has reminded me what a jewel the work is. It is such a shame that it is not played more often. It was written in 1955/56 while Martinů’s was living in New York City and commuting daily by train to teach at The Curtis Institute, Philadelphia. It was soloist Rudolf Firkusny who introduced the score in 1956 with the Symphony of the Air under Leopold Stokowski in the Metropolitan Museum of Art. Sidestepping the traditional concerto form, it is a short two movement score in his ‘fantasy style’ of composition. Not a display piece for the piano, it takes here around only nineteen minutes to perform yet covers a wide range of emotions. Concerning the choice of ‘Incantation’ as the title, Martinů said the dictionary describes the word ‘as magic charm and this corresponds exactly with my own idea.’ Soloist Kahánek has been championing the ‘Incantation’ in his concert schedule and his affection for the work is palpable. The cinematic quality of the work shines through, especially in the opening movement Poco allegro. Kahánek revels in the wide-ranging emotions of the piano part, ranging from the emotionally highly-charged to one of composure and reflection. The second movement Poco moderato is very convincing; Kahánek and Jakub Hrůša combine to create an engaging sense of tension and expectation.
Probably the best-known accounts of the ‘Incantation’ is from Josef Páleniček playing enthrallingly with the Brno State Philharmonic Orchestra under Jiři Pinkas, recorded in 1967 on Warner (Apex). In addition, the 1986 Dvořák Hall, Prague account is performed with high engagement by pianist Emil Leichner with the Czech Philharmonic under Jiří Bělohlávek on Supraphon. There is also a spirited account by soloist Giorgio Koukl with the Bohuslav Martinů Philharmonic Orchestra, Zlín under Arthur Fagen recorded 2009 in The House of Arts, Zlín, on Naxos. In conjunction with Bayerischer Rundfunk (BR-Klassik) these Supraphon recordings were made at Joseph-Keilberth-Saal, the orchestra’s Bamberg home. I can’t fault the sound quality which provides plenty of detail and excellent balance. The booklet notes comprise of an interview between Ivo Kahánek and Jakub Hrůša; although this is relatively interesting it certainly does not compensate for the lack of an essay.
From start to finish, Dvořák’s and Martinů’s piano concertos are given compelling performances by Ivo Kahánek which feel fresh and exhilarating. With glorious sound to match the quality of the performances, this is an album to relish.
Michael Cookson
